Walden StageTermsHeliodorussAethiopica 1894

Stage-Terms in Heliodorus's Aethiopica
Author(s): J. W. H. Walden
Source: Harvard Studies in Classical Philology , 1894, Vol. 5 (1894), pp. 1-43
Published by: Department of the Classics, Harvard University
Stable URL: https://www.jstor.org/stable/310390
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STAGE-TERMS IN HELIODORUS'S AETHIOPICA.
BY J. W. H. WALDEN.
HE superiority of the Aethiopica1 of Heliodorus to the pro-

ductions of Achilles Tatius, Eustathius, and the other Greek
novelists, is due in great measure to the dramatic feeling of the
author. In respect to this dramatic feeling, Heliodorus stands
quite by himself among the writers of the class to which he
belongs. No other of the novelists has succeeded in developing
the plot of his narrative with so much skill and ingenuity,2 or in
imparting to the action so much movement and interest. Besides
giving a character to the whole composition, however, his liking for
the drama has led him to make a large number of references--
some more, some less direct - to the earlier dramatists,8 and to use,
1 The references to Heliodorus in this paper are, except when otherwise stated,
to page and line of Bekker's ed., Teubner, 1855-
2 The plot is as a whole carefully put together, but there seem to be one
or two loose threads. Thus, from 6, 17, it would appear that the pirates, who
lie scattered about on the shore dead, were Egyptians, or men so nearly like
Egyptians in general appearance that they could be mistaken for them: -q 7ra'S
cdvgivEcE, KCl XcCavas iOvotC r'7 XPOLaV KaT "rri 6JLv atX/L7POp, EL e V er&OXaC 7 TWV
KEL/VWCV o-r7, 0iv. . ... It is necessary to the description on pp. 27 and 28, how-
ever, to understand that they were men who would pass for Ionians, 27, 25 : 7vos
MPurdv "~TV IwveY, and 28, 5: MXXpwv 6U 7roXLpv eis 7rXfOos rcov tv Kacr& r"v arrv
OXKdca avveracTdTov. gVapas in the first passage does not mean black (cf. 69, 27,
of an Ethiopian: 7rv XpoLrdv 6 KpLfws dXcas), but still the term would hardly fit
Ephesian 7roXiraL. On page 38, Thyamis, the robber-chief, is taken prisoner.
When he next turns up (p. 161), it is as the newly-elected captain of the Br-craeTs.
Three days at the most have intervened between his capture and his election, and
no intimation is given of what happened to him between the two events. There
has been time for him, however, to fall upon the royal troops with his new band
and carry off Theagenes (cf. 161, 23). On page 36, Thyamis supposes he has
killed Charicleia. When the two next meet (p. 186), there is no surprise on the
part of Thyamis. We have to understand, doubtless, that Theagenes has explained
matters to him. For another oversight (p. 137, 30: EdKpat r 7rveV'jAaL), see
Koraes's note to Bk. V, chap. 17.
8 Principally Euripides. Koraes in his commentary notes many, though not all,
of these references.
I

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2 J. W. H. Walden.
generally metaphorically, a large numb

these terms present no peculiarities, but
ing uses that deserve more than a pass
collection of all the stage-terms used
sions do not in all cases profess to con
they may help toward an understandin
Such words as present no peculiar uses
sake of completeness.
In dealing with a writer like Heliodorus
amount of dramatic instinct, and empl
and in a metaphorical way, we may fee
sumption that he is taking his figures fr
had before them in the theatre of thei
to believe that his uses of the terms cont
the theatre of several centuries before h
we must not look, in a work of this so
an author, for too much carefulness an
doubted whether Heliodorus always us
accuracy. Yet there seems to be no goo
he does not so use them; the most pro
reflects the usage of the people of his da
It would be a point of importance to
dorus lived and wrote. Except within
date is quite uncertain. We are probab
Aethiopica was written not earlier than 2
400 A.D.2
I. 8pa/ia.
The word Spaâ bespeaks our attention first, not only as being
the stage-term most often used by the Alexandrian and Byzantine
novelists, but because it was apparently the generic term applied to
1 It is of course nothing unexpected to find a writer of this period referring

often to the early writers. Both in this respect, however, and in respect to the
use of dramatic terms, Heliodorus takes precedence of the other novelists.
2 See Christ, Geschichte der Gr. Lit., p. 604, and Rohde, Der Gr. Roman,
p. 466.

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Stage-Terms in Heliodorus's Aethiopica. 3
the whole class of compositions to which the Aethiopica belongs.'

As found in the novels themselves, the word, according to the
common statement, oftenest means an action or event such as
would form the subject of a stage-drama of the tragic sort, a
" pathetisches Ereigniss." 2 The history and meaning of what is
apparently the generic use of the word - of its use in application
to the compositions themselves - have been the subject of some
difference of opinion. Nicolai8 connects this use with the one just
mentioned. "Dieser Ausdruck geht wohl auf die ungliicklichen
Schicksale, mit denen die Hauptpersonen dieser Romane stets zu
ringen haben und welche ihnen eine Aehnlichkeit mit den Helden
der Trag6die verleihen, von welcher Dichtungsart das Wort Spea-a
vorzugsweise gebraucht wurde." Rohde,4 on the other hand, sees
in it a reference to the technical division of &r1t-yIyra given us
by the rhetoricians: ". .. unter dramatiscken Erzdhlungen solche
verstanden werden, welche zwar erfundene, aber der Miglichkeit
thatsichlicher Ereignisse nachgebildete Stoffe behandeln; drama-
tische nannte man sie darum, weil sie, als erfunden und doch der
M6glichkeit nicht widersprechend, den Gegenstainden der (neuen)
Kombdie fihnlich waren." In view of this difference of opinion, it
may be worth while to review the evidence in the case once again,
somewhat more in detail than has yet been done. And first it
will be well to see exactly how the word is used by the authors
themselves.
(I) Heliodorus.
a) Twice the word refers specifically to a dramatic piece, a play.
244, o10, Ka' 7V ToEp ~Ev 8pL, art, 7rpoavaoW'cVlS KL 7rpoctoo'S~ov 7

y7voyevov.
3"e, 4, vi3v T7)V KopWVL'Sa Kv l ,vOOrgsp t'Xaherf'ov SpaaTos.

Whatever the explanation of these passages, the reference in
1 The word, however, was, as will be seen later on, of wide application, and
perhaps in its transferred uses it never wholly lost its metaphorical character.
2 Rohde, Gr. Rom., p. 4502. See also p. 3503 and p. 545-
8 Ueber Entst. u. Wesen des Gr. Rom., p. 823.
4 Gr. Rom., p. 350f., 35Iz. See also Susemihl, Gesch. d. Gr. Lit. in d. Alex.,
II. p. 574'.

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4 J W. . . Walden.
Spd/aTrl and Spcpa/ros is to theatrical plays,' and therefore
need not detain us here.
b) 129, 1-7, rTooVTov 7ratt~L Ka0" F) WV 7ro'XE/hOV, (jtE rCp TK7 vV T&
ijcTrepa KL pa8p a CrEtroLyvot/VO 7t O1V OV vX rOTVOhVc aiT Ov Tiv
paytK 7V TTr/V7qOLrLYW, Ka TO t OVXOVOL VtLpreV cXLPtOpt~oV,
,7 Ka rpoyov b po o 6pa os orXo7qos/oo, Kai a arZpa
ar eaVmTJ KJldpo lV"TaL o yCoEOato'o
8pa~iux, is here helped out by Oa-riv and rpay&Kqv Tro-VqLv. The

reference in all three expressions is to the long series of adventures
encountered by Charikleia and Theagenes on land and sea. They
form the material, in a way, of a play such as might be represented
in the theatre, in which the two, Charikleia and Theagenes, are the
central figures. It is not necessary to understand that shipwrecks,
rapes by pirates, and similar scenes, were represented in the theatre.
The point of resemblance seems to lie in the fact that there were
adventures, that there was action, in connection with certain charac-
ters, and (in this particular case) that there was a tragic element in
this action.
c) 185, 9-20, tTe rtS... 7 Sr'XL & (TrEp iK OEArpov O repteOTWaO 70T
elXovw ?XMOO't T7/ V OLaYV, TdTe 81 'ro) E TE TL s&p/LOILOV ETE 7TVXr1 TL;
TdavOpwrELa [3paflEVov0Ta, KaLvov TELro'd ov ET'repayoet TOT 8pwjdVOLS,

(o-e1p EEls avraywV w/Ja 8paptaTos apX v !a ov rapLc iCpov ca, KaL TOVy
KaXackpw eds qipav KaLt wpavEK iELvYv WIMPEp EK AltcaVx's YV VApOI6V TE Kat
OVK EVTVV) 7O7 poV Ty 7repi vX77 aywvL TwOv 71TU80v C6T0-T1TL.
The brothers Thyamis and Petosiris are engaged in a /tovo/~aX'a

before the walls of the city. This is the 8pagpa, or at least that
part of the Spaia which is being enacted. In the middle of the
contest, or rather before the contest has really begun, and while
Thyamis is chasing his brother round the city, Kalasiris, the father
of the two, appears on the scene. This is the KaLVoyv IreoSLov.
Here again it is the action, the event, the thing that takes place,
that is conceived of as a drama. The people on the walls of the
1 See, however, for the latter passage, p. 34' below.

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city direct it ro-?rep ic Orcrpov.1 The figure is continued further

on, when Charikleia unexpectedly comes up, i86, 29, &epov ,yvC7ro
7rapEyKvKXr 70oq SpO4aro~ 4- Xap'KXEta. And again, i88, 2, i4'
aorat SC 70 jpoMi'Kov t1po o 70T Spcap70'o, 7 Xap'KXELa Ka ' Ocay,v2l7
irrjKoLav. The father has reconciled the two brothers; the lovers,
Charikleia and Theagenes, have recognized each other; amid great
rejoicing they all enter the city. The whole succession of events,
then, from the beginning of the hand-to-hand contest to the return
into the city, is a 8pa"xa. In this case the idea of a TpaytKy) 7rot'lo0L
seems not to be so prominent as in the preceding. Indeed, it may
be questioned whether there is any such idea in the passage at all.
Petosiris runs at the first onset of Thyamis, and the contest which
is no contest ends amid a scene of general rejoicing. Perhaps the
most that can be said is that it is a piece of action, an event, - what
we should call a scene without any side implication as to the nature
of the scene.
d) 69, 7, ierepayow~EL CovT 7 pcLatL Kate apOV v"oO 0 S aA!ovt

Kat 777v /Ar71pa ?otr 77 svat 8o 4aLpEZpat TOZt opvvoLS yKapTeplo-aa-av.
The first misfortune was the death of his (Charikles's) daughter

on the night of her marriage. The use of the word Spa/a in this
passage shows a considerable advance upon its use in the passages
previously considered. It seems to mean nothing more than (tragic)
event, but there is a color to the expression which is gained from its
theatrical associations. The death of the daughter is conceived of
as an event, an action, to which the priest is in a way subjected by
the god. It is worthy of note that rd0sos is here used as a synonym
of 8pa/xa. There will be occasion to touch upon this point farther
on.2 Attention may also be called to i'7rcrpayo'L.

e) 168, 5, OVITW SpaQa TL roeptl 1as E c t rtLpOV E7/KVaTC, Kat
lraoav XoLro'v YKq/VV VE7rCpkOeyycraL.
1 There is, as it happens, a striking resemblance between this scene and the
actual stage scene in Eurip. Phoen. 1219ff. Such a connection, however, is of
course not necessary to explain the use of the 8pdiiaros here in Heliodorus.
Many features of this scene, it may be remarked, are borrowed from II. XXII.
2 See p. 17' below.

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6 J. W. H. Walden.
The address is to the gods, and the Spa&a is
misfortunes through which Charikleia has p
any drama seen on the stage.'
f) Similar to the above is 6, 25, Xv rar TOV TEPc7rCpQLTKTd.V &XYELVWV,

cko'vp) TO^ KaO' -q/jLWV8pv cLa TO 7 T L 7ep /LL q KaTao-TpE4/IaVTC3.
g) 48, 10, W KaYW O- Ka-c KCL/_ItCVV XW 8L 9Ero7fras, KatL o'6pa 80oLKa

pa) KCLL 7 rXcLOa i-Tltv ?7c /tf LcLLV&Tt1s TcXcVT-q, Ka/.LC /LEV q7 ravqTVo-V ol &$ayycL-
XavrTes, a- VN KaL Se LaroTV7LOS 7KGLS CTEpaV KL a' 'iqjv UKoiqviv 'ATTrLK)V KaL V
Alyvrrpr rpay j v(oveav. -o oV 7raTc . .. ov yap V 7K' L YP Ka7 L TV c/JV
OtlfLV dros Lav iws yo7Tcvr-c, O8IV KOLVWoVOVTGL TO 8o paprTOs.
Thisbe has been the moving agency in an elaborate plot against

Knemon at Athens. The latter now sees her lying dead at his feet,
but distrusts her even so. Theagenes, however, who has had no
connection with the events at Athens, reassures him.
h) 172, 21, 7rX/O 7r KELLCVWoV VCKpWV OpWOJL VCoo-TcyWov, rWv puEV
7rXELOVVw IIEpo-wV EcvaL T7 (TOlX TE K7L K7OOrXtcL yVw^pL O/NCVWV, 3AXywv
Te rLvv yXOwpWV. Kal 7rdXECOV pLV CuVaL TO spcla TKOLOV.

The Spa&,a in this case seems to be far remote from anything con-
nected with the theatre, but it still contains the underlying notion of
action, something that has taken place: 'they conjectured that what
had taken place was a war.'
i) 62, 7, KaU iJpa o:L 00L To pcq KcLOcL7rfp 7rt K(Kt-q 0T3 Xoyw a-
The Spa-La here referred to is Kalasiris's narrative, which extends,

with a few interruptions, through part of Bk. II, Bk. III, Bk. IV,
and part of Bk. V. Knemon tells Kalasiris that it is time for him
to begin his narrative, - to arrange the action of his story as he
would arrange the action of a play. This is a very important pas-
sage, for it is one of the two undoubted cases in which the word
8pa/a is used by the novelists with reference distinctly to a story.'
Rohde says2 that the novelists used no technical term in speaking
1 The other being Eustathius, XI, 23; see p. 13 below.

2 Gr. Rom., p. 350.

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of their productions. There may be a question in regard to this

statement, as we shall see later; but 8paR/a, referring to Kalasiris's
narrative, is at least started on the way toward being such a tech-
nical term. As this is an undoubted case of 8pa^&i referring to a
story, it is important for our purpose that we find out if we can, just
what Heliodorus meant by the word. For that purpose, we must go
back a little way in the story. Knemon (Bk. II, chap. XXI) comes
upon the old man Kalasiris wandering on the banks of the Nile in
apparent distress of mind. The two question each other and strike
an acquaintance. At length the old man proposes that they cross
the river and enter the village, promising to entertain Knemon and
tell him the story of his life, as well as to give Knemon an oppor-
tunity to tell his story. The two enter the old man's abode. Then
Knemon questions his host again. Kalasiris answers that he has
been very unfortunate, his children have been kidnapped, and he has
wandered long and far in search of them. But the old man refuses to
tell his tale until after supper. Supper being disposed of, Knemon
starts the conversation thus: 62, 3, 0 Aldvvwo, cTircv, otEOa, 7Tep,

J; XaL'PC .LV5OL K13 KCL&O)&A 4sLX CL. KlCli 877 Ov 0WTa* vvv CL(tOCKLOTp.CVO1
aV070L 7rp1 3TV aKpOcaOLV, TO " VC E7rlyycX/L'VOV " 0 7po TOV' /LuTOo 7cTCLm v
TEltrCL. (CLO&KLOo/-VO, refers of course to the wine Knemon has
drunk. The last words are explained by saying that Knemon had
promised to restore Kalasiris's children safe and sound if he, Kala-
siris, would repay him by narrating his adventures.) Then follow
the words Ka& `po a p OL, etc. To what do l1v'8oL~ and KWoo&l'as refer?
The words might conceivably mean stories, narratives.' Would this
interpretation, however, be applicable in the present case? Else-
where Heliodorus understands Hermes to be the god who is pleased
with stories: 137, 15, Tv "Epn pv r Aovcd a~vy tKaSLpow Ka Xdywov

jSvacta (Oc Vr&O o7( O YVVaVCoV. .. OVK VGLT 8T o,g p.A"XXov TL ,v "v
'EpY v LXoaqLTo 7 TO OLKCLoTaTOV KCLV(a Xdo'ov1 d;s dwolxav pavto5'Jvos.
Kpo)J0t'a1 must mean here properly comedies, and in that case /08'ov
must refer to tragedies. For /dvot, in the sense of tragedy themes,
cf. Ach. Tat. I, 3, a Uyp i~La /AV8o1 OLKC, and I. 8, *owv civi',rz av
OV C1ov ywVa3KEr T7v cK'V7V. If we follow this interpretation of the
1 Cf. Rohde, Gr. i om., p. 3511.

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8 J. W. H. Walden.
words, Knemon is represented as sayi

is pleased with tragedies and likes com
lished himself in me, he gives me the s
you to bring on your play now.' It is
the passage to imply that the Spa0/
/t00o and K~p la ; simply, as far as
either the one or the other. As a matte
a tragedy than a comedy. I would call a
TE7r O Kq 7~ XoY & taKCKc LVa, as sho
in Heliodorus's mind in connection with
action.
(2) Achilles Tatius.'

a) Once the word means a play properly.
I, 8, a&W' CL /LhC L'8iOT7y vloOa /LOVOLK7J 7VOTEWC6S, 'qVdeLS V Ta T TV
yvvaLKOV 8pa'L/a=T v SV KaV AXoL1 XeyoLS, awov v rX-qoav p v'Oov
yVVatLKCE TVV 0Kq)VV)V.
All we have to notice here is that Sp4LaTa are tragedies rather

than comedies.
b) I, 3, E8ErYoCV oVV 7 7raTL YVVraLK (Ec7TpL, CC 9 8qX13 ) 0oL KaXX-

yo'v) yevCTc. KaL C8KCL ,fv TO 7 awpa o-VVc~qo U /Lj&\Xov i/ia yc4p- ai 8N
loOpaL tGOv aOp(7r(OV KpCLTTOVES, .AXV-lv E7Tpovv LOL YVVaLKCL .... e7rrd
yap dxyo" VVVaTOV rTO1 7 7 rTOLS 8Ka, KaL 7rCapLCTKevatev o 7-aT?)p ci V Ta
7roL7aL TOV yo Y , p.OV1 7PTo T70 8ppa/iLTos q TvXV).
8pcLaTa'ros here refers to the whole series of events which follow and
make up the book. It is explained more fully by a passage in the
preceding chapter: T y~ap e/ j 0'Oots ZOLKC. 'OLv are here tragedy
themes, as in the passage I, 8. Cf. also 2, jv'Owv ipwOTLK(V.
c) I, 9, ~,yo 8S 7rp3s TV KXcLav KaTaXCyo /.Lo 7v T opa/La, 7T~1 E7yEVCTO,

7rs pW00U, reWfes Z OLL/o, 7 V KaTayOYyJV, TO CLVOVn 7TO Ka XXOr 7e KOpp .
To Spa/La refers to the course of Kleitophon's love for Leukippe.
d) V, 5, 7ValveL yap 7rE7rXov dyyCXov, Ki 7TO 8p'pa 7rXEKCL TaLK KPOKaLS.
1 I have followed in general the edition of Jacobs, 1821.

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Tereus cuts out Philomela's tongue, but she tells the story of
her sufferings in her handiwork. Cf. below in the same chapter,
7rpo aTr~v a rovSc rTi- KCpK6& XaXci, and K'L. t TpooO' i-L ro iro a 7dOV
r-lV clKOVa.
e) VI, 3, oL Se q fl ~7l 40p~ TV~ 7 XLV a erTLvTaL, Kt.Lc UVTi0CTaL KaT

FLjo 8ppaCla KaLvov.
f) VIII, 5, Kay'o 7vra?-a K-a% iar rv r70ro&ibav rv &Vro Tv pov &tq-
yoLaL? .C ? ev dvov rapilKa rGv Lavrov, Sppa.'rov, 'r )v Lrch ,rai;'ra w7rpo
McXLTTrqV atli).
The meaning of Spadirwv is very restricted here. The word refers

to the events which befell the speaker, or in which the speaker took
a part.
g) VIII,
KLrr7)v 5, 08pala.
YECYOVCE fo'rpaTro; KaL rC.a8KpUEV, C LOTrCE 7r KaTa AEV-
Sostratus shed tears whenever the adventures of Leukippe were
touched upon (in the narrative).
h) VIII, 9, To yap Spa/i fov b T e 7L CIL TOWV ypOv 7KOVca/LCV.
i) VIII, 1o, T* 8* TCXeTvraloV To 8Pca'O 7ra, ,raav ar CKCadXVIC 'Vv
VIII, I5, obK 4psc qtcav TOV FLOov rvT r77 Cdpov) X-TrV, KaL 7
a7ro7LlOcLl~ im KE- 7T aLvL)y p KcoaXE , yva VOOV KaL 0 7rac-qp aKO"v '; TOTO
yap Jovov evis pos &aKpoaLV TO 7raVTo" 8paarTOs.
The last two passages show us Spat/ verging on the meaning story.
Thus 70o' raVrs S pa.LaTos refers of course to 'the whole adventure,'
but it may also be considered as the narrative of the adventure.
k) V, 3, llpo'4KVrp y?Op VJc 4oopav, KaL 7TV 3av T-pcwS, Kat 7T7 YXWT77 T
Sfyv ro/LgV. jv 6XOKX" pov pOV ypa/.Or 7 ?yfL TO; 8pcaaros, o 7rrXOS,
' TWpss, rpdra.2 III, 7, r jOLv rTs 'Avspoi'~8as paLa Trovro.
1Hirschig: 6rbr7e [7] KaTr A Ae~vcKrr1v yery6vre [Cpa~a.] Hercher: 7r6TE Ka-r&
AevK7rrryv ye-y6veiv. See Hercher's adnotatio critica, p. xxxi. I see no good
reason for bracketing and changing the person against the consensus of the MSS.,
which are with Jacobs.
2 The text is on the face of it corrupt. cIDXogXas, not IIp6KVys, is needed. See
Hercher's adn. crit., p. xxiv, and Jacobs, p. 761.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
1O Jr. W. WH. Wtalden.
The last passage refers to a painting of the story of Andromed
1) II, 28, oix ipe ~ r, 4e , 1 )v K uT(rKr ov Or pdarrO;
Referring to an attempted rape.
m) VI, i6, 44~ p rc, v e'v&)-o -dt2" "ovT v 8p0&4a= - cE X Aw repL-

OoMtaL ,4v AJKaLrvv.
Here 8paia seems to be almost equal to 7rpo'oWrov." The transi-

tion is of course one from the idea of playing a part. The
girl is playing a part in representing herself to be a slave.
This is brought out more fully a few lines earlier in the same
chapter: capa droKaXOt//aora TOv Spac/La7os 77V V rOdKPL(LV, Y qlyqr-rTO/aL 7-v
dXr4Lav; Here Spap'aros refers to the deception she is practising.

The use may be the same in VII, 2, 's ov 6~ a vOperor ;ylvErd 1ov
nrXXoloov, Kal with
same apartment roi Spdp4a.ros
KleitophonqpXcro,
to play where
a part. the
Moreman was put into the
probably,
however, the word is used simply of action, without any idea of
deception, as in I, 3, above (p. 8), *~oxero 70T 8SdpafLaro 7 gX.
n) Quite peculiar is I, Io, U) oLvvV KV~I0, Y VLa-T~aLV V Y aCV

Lts~F aXX E pC~L irzaF bIVOlaTLramL aoL. oona'ap KdvYaVOa &. KaV iA
arporTKaprcp~j, 7rx; 7erv / .av -ov7ro yp - Oret .a v oA MSaXOcLKOTCpov
V7*Sq X o1vq Op Ploov vT v 7r7V o'KpL(wtv, I T11a rox'atOV T oppa.
The passage is part of a recipe for making love. The idea is

apparently, 'so as not to spoil your game'; SpaFLa being equal to
7rpaya, res.
o) III, 23, '0 O arra Ad/yvo)/ov, c4/04"vcas ~ 7lyV O"XoKXapov 70o ~v7
tLXavOpenrLa, Trov 8pouros.
Menelaus and the two lovers have been saved, but the sea has
not completed its act of benevolence; Kleinias is lost. The force
of 8pa-aM here is hard to grasp. The act of benevolence by which
the three have been brought out of the shipwreck safe is apparently
thought of as an adventure to those involved.4
1 Hercher : oawVev7v. 2 Here Jacobs reads future indicative.

3Compare scaena used similarly in Apul. Met. IV, 20.
4 In VIII, 5, Hercher reads irelUt 6 rt K ?it& MeMrlhyP 7rrr po, it^ b vr6paua
9at-roi, where the MSS. have not 6papAa, but irp/7Aa.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
Stage-Terms in Heliodorus's Aethiopica. I
(3) Eustathius.'
a) II, 6, TO 'e 7 rcp L aias 8pa/a Kal lTvcE~ av"Tat /mLOEZV i oV-/oL V
St?XorrovrECpov.
Hysminias, while walking in the garden, sees a picture in which

are represented four maidens. Their attitude and costume suggest
that they are symbolical in some way--that there is some story
connected with them. He is at a loss to understand what it all
means and who the maidens are. Then he sees an inscription
which runs: .podq-Ls, ' IoxV, ~4wpopov KaLr OLL'/, and this explains
to him the painting. The use of Spaia in this passage may be com
pared to its use in Ach. Tat., V, 3, and III, 7, quoted above (p. 9
In no one of the three passages is any actual drama in the writer
mind, built upon the theme in question, though such might conceiv-
ably be thought to be the case in the passages from Achilles Tatius.
The word signifies, what has taken place or the narrative of what ha
taken place- the story. It is worthy of note that, though there is of
course a tragical element in the Sp'/aara of Tereus and Andromed
there is hardly any such in the present case. It is not true tha
8p'ipta always and of necessity refers to a tragical event. The presen
passage explains one further on: II, 8, CXow 0ov, TrEvtra, r aLvtypx
XW rovy r 8po la" edI a'rdov aov ryfrrw rv vosv. After explaining t
himself satisfactorily the meaning of the four maidens, he look
about and discovers a second picture. Upon learning the key to
this, which is also symbolical, he utters the words just quoted.
AMeaning suits as a translation of the word very well. What the
word, without doubt, does not signify in this case is the deed, per-
formance, production of the artist. Rather, it refers to the stor
which he has symbolized in his work.
b) V, I o, KEL 7TV vo~V Oov KaTaXaflova To 8pailATO cXaptoaE pow
The explanation of the words is this: The occasion is a meal a

which the two lovers are present. The cup is handed to Hysminia
He begins to drink, but bethinks himself, and, with a few words of
I have followed in general Hilberg's edition, 1876.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
12 J. W. H. Walden.
chiding to Kratisthenes for having handed

bids him give it first to Hysmine, who
She understands, and touches the cup w
which Hysminias has drunk. The whole
device for bringing about this very result
tinctly to the act of Hysminias; I think, h
is not quite so definite, and that the fi
The whole proceeding may be considered
of acting). Here there cannot possibly b
proceeding.
c) VI, 13, yw c0oL KaaOv7r-p cT'wr rw 8~p

7rep' Tv &taCTKEU7V TOZ) 7rpayaaTOs wXcTO.
VI, I6, r" 7av KKaXV/oW 70o p Spa/r

IJLKETL 7rpOS &VcapXas X pct~v ~ot ro -yay.p&
VII, 3, KL 'XW KaOV,7rpECTL 7-c SPraTL.
These three passages refer to one and t
undertakes to carry off (with her own co
thenes promises to assist him. Here, as
proceeding, rather than act, is the translat
of 7r-pay,a in these passages.
d) VIII, I I, 7d 8' AX~a 8 TroVcoa /uaOetV

Tpay y/a.
VIII, 14, &Xov pa/ra T - KaT?L ( Ka' &vro rpayrPlF/a..

IX, o10, Xov yap Spaa TO KauO Lcas av7TrXarTro.
The reference in the first two passages is to the adventures of

Hysminias; in the last, to those of Hysminias and Hysmine. The
use of 6Spa-a is here the same as we have already seen it to be in
many cases in Heliodorus and Achilles Tatius. It is the same in
the following passages. After Hysmine has been freed from her
captivity and united to Hysminias, the priest speaks thus: XI, I2,
ELTa ool tphv 'A7r0XXw(v evOeplav XaplXEtraL Kal ov KaXOv TOV;TOV rYoUvtav
7r LVV/tovvE L (r01ot r 3 ' o38'" ai3 SO &7 KaTa orrSO p&,La Ov'oa s 'A7rXkXwovL, 'v'
Zdvi"ov T7 La Kat NA LVOV T TcpaTovpyqf/a, o iyas 'AroXXov
1 For a different reading see Hercher.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
oV03 KawLVw (j1 0x v 4OLt8wOv rTcparovpyE't; The Spa^/a here refers to

Hysmine's adventures; Tb Kaw cr op~ upaw 0&9rLo 'A7rdOXAAwn means virt-
ually put your adventures (or the account of your adventures) in the
keeping of the priest of Apollo. This she shortly does by narrating
what has befallen her. We may notice that Spa^/La, which would
seem to mean adventures, is immediately followed by SL,txa, the
account. Further on Hysminias prays that the memory of the advent-
ures of Hysmine and himself may never die: XI, 22, a- '", Wr q
/l7TEp, El TVV ar qvA v/Yv Acvyovearv ectsm KaZi KPat rCELS icat moELt sKat CVv
o/LWyV1lOV LavrTo1LC7W yevva9s E /LV7/ L 7)1 v aVvT/parIL, l av 'YYKLVOOV ie
O/AlWvV/OV Vro VXar v F TTcs&JaOvarov,7//L Ov oV'VV7rrlp' CLS TV ,VVj V)V,

VTAh ' OVK va8 aGELS ob/ LIVV/La cr(TTXa; dOav'aTroVr TWV Ko 0YoLVY7V
"raTriVo Ka TV SYopLLVt=av ZoLE, ~Xov Spqa 7 KTma" O ^ ?LT TOT 4,TOr Karatw-
ypacovcra KaL KKaTaT17XLTEVOcv'o Kal TO 11 /mLEO q'jLa c ;vXaTTOVco a T V p vmV
40avarov; Then at the very close (XI, 23) occurs this paragraph:
dooov L) v ovv iv avOprroS i1pTLKOTEpOV, TCOV 7roXX.Ejv p'WTLK)V Xaptwv

?.Las a7rooclerat, Kal ocTOV 7rapfEVLKOv Kat 7E1lVdoTEpOV, T rqS ;c7cpocUVtj
7ratXLV YL'rL "oTJL a 1vmraO po S Emr 7Eo ,cy'r-c T(2)v VorTVx?/XqLCE V r/La',
KaL OVTW) ql7tV 6c Ta 7T 7lT ;V17 VTMa . ptLE SC KTaXaptTToOV
T?V ypa"f'V
K' ÔT !UOLt,Katl Xjv
Ja Pt TVKOO
'pXO lt'Xov
&GKarTaKOOLr pqTOLEV
Kal T01Y X0yoV Kal XaprlTv p~TLKati
KaraKaXXVvovcrL.
KX? VL S ETaL 7T aLKaXq TO Ka Yro LVV V p t0La Kal TOV tY tVtav .
Here is an undoubted case in which the word Spalja is used by one
of these authors in reference to his own work.3 It is true that here
it seems rather a part of the title of the work than a descriptive
1 See Hercher here.
2 The word 8paipa occurs in the title of the work in some MSS. Thus, e: rollpa
ebforaOlot orpwroTvOleXEllOUV KKal ipycdXov Xapro OT60)XaKosrTO a o70 aKpeKo077Orb TaO' Ka'lo, rlvY
Kal beAtovlav ppaia. 08: 7T KaO' bO~,uvilaV Kcal bOlp,tv 8, 5pacl/a. 70ro177la te1ra0lov tXo-
oa6qov. These titles, however, probably did not proceed from the hand of Eusta-
thius in their present form. Cf. Hilberg's ed., praef., p. XLVII, ff.
8 I am unable to decide just what Rohde's view on this point is. In his text,
Gr. Rom., p. 350, he says that the authors themselves seem not to have known or
made use of a technical term for their compositions. In a note, p. 350', while
apparently citing the cases in which the technical use of the words 8pa4La and
5paClartLK6v is found, he remarks that Eustathius called his own work rb KaO'
'Toral.vrqv Kal 'ToLftVlav 8pata. Elsewhere (p. 522), he translates the title: ' des
Eustathius des Philosophen Erzhihlung von Hysmine und Hysminias.'

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
14 J. W. H. Walden.
name of the kind of work, and that ther

between the two. Should we say that the b
of Hysmine and Hysminias," or that it is
and Hysminias ? Does Sp aja, that is, signify
to the two lovers, or does it refer to the wr
position which tells about those adventur
used in this title of the work in the same
is used in VIII, 11, 14; IX, o10; XI, 12, 22.
two lovers have the term Spatua applied
XI, 22, because they resemble an actual st
in their character. This resemblance is sta
VIII, 14, oXov Spa/a a KarcT Kal OVTI rTp

tures form a perfect drama and a veritab
therefore, and as used in the title of the
the word in question to refer to the Spata
two lovers - to their dramatic adventures
in its development, the composition whic
tures, such happenings to people, such
called a Spapa.
(4) Chariton.x
a) I, 4, ravra o"v rpoKarGKEvA-cvLaVOa 0 s7LOU

VI, 3, oAov TO OpaLT ToVTo oKELV?7 KaTEqKEVaqE.
Of a plot, in each case.

b) IV, 4, E7TrL c7 47LXOKuVOaTv 7vX2 7pSp-/ (T
TSCOELKE.
The reference is to a series of adventures, but the terms used

would seem to suggest that the idea of a mask was not wholly
absent from the writer's mind.
The word occurs in Theodorus Prodromus as follows2: I, 349,

IX, 36 (perhaps meaning act, but more probably tragic event);
I, 393 (of a wonderful event); VI, 280 (tragic event); VI, i8o (,r
1 I have used Hercher's edition, 1859.

2 Hercher's edition. (N.B. It is 5pa&pa in five of the eight passages in
Theodorus.)

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
paa/a %L 7 iyZs . . T rvXrys); VIII, 379, 493 (similar to VI, 18o);

IX, 413 (of a humorous experience). The passages need not
be considered more in detail. Xenophon the Ephesian, Longus,
Nicetas Eugenianus, and Constantinus Manasses do not use the
word.'
We have then one undoubted case in which the word SpapcL is

used by an author in reference to his own composition. An exami-
nation of the word as found elsewhere in the same author, and as
used by the other novelists, seems to leave us but one way in which
to explain its use in this case. The composition of Eustathius is
called a 8papa because it contains incidents which may be con-
sidered dramatic, and to which the term Spatia is applied by the
author himself. Thus in Ach. Tat. VIII, 5, rovro "yap Idvov iv&L
7rrpos KpoaLrv TOv 7rravTo Spcaqaros (see p. 9), both the events and
the account of the events would come under the head of Spa/a.
In the case of Hel. 62, 7, Ka"L pt ToL 7 ~o SP o KaOa7rEp 'rTL 'KjvF
74 Xw0yp StaGKECIVEV (see p. 6), Kalasiris's adventures, as well as the
account of those adventures, would be called a tp&Ma.
The word dramatic has been used. The question arises, What
was included under the term? What was the nature of the events
to which these novelists applied the word Spap a? It is apparent
from our survey of the uses of the word that its range of application
is very great. At times it is used of a whole series of adventures;
again, it is applied to a single event. It seems to be true, however,
that whatever is considered as taking place in connection with a
person or persons - whatever may be looked upon as a piece of
action - is a Spama. That the Spaa in this sense is always a tragic
Spaâ seems not to be the case. It is true that the word very often
seems to refer to the tragedy, but not always and necessarily. The
Spera in Hel. I85, 16; i86, 29; I88, 2, can hardly be considered of
a tragic character. The Spaitacra of Eust. II, 6, and II, 8, seem to
1 8pa^za in the sense of 'pathetisches Ereigniss' is probably not found in the

early literature, though it is used of a stage-effect; e.g. P1. Apol. 35 B. In general,
the early authors use the word with nothing like the freedom of the Alexandrians
and Byzantines. In the late literature outside of the novelists it is used frequently
in quite the senses we have observed above; e.g. Walz. Rh. Gr. I, p. 6o0, Plut.
de Gen. Soc. 30 (Moral. 596).

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
16 J W H. H.ia lde n.
have no definite character at all.' The SpaMa of
rather of the comedy order. Still less is it the
any necessary implication in the word of a com
siris's 8pa&ia is much more of a tragedy in ever
comedy. It is serious, full of woes, and does not e
ending. Even if we could believe that Eustathius'
character of a comedy, we have Eustathius's own
that he looked upon it in the light of a tragedy.
asked if the novels of Heliodorus and Achilles Tatius have not as
much in common with the Tragedy as with the Comedy. The e
ings are happy; that is a feature of the Comedy. Most of the
characters are every-day characters, similar to those of the Comed
Many of Euripides's characters, however, are much of the same so
The action of the novels is quite as much of the tragedy as of
comedy order. The term dramatic, then, as used above, has n
necessary implication other than that of action (irrespective of
sort of action).
The only other writer who refers to these compositions as 8pa/MT
is Photius. It is an interesting fact, and one perhaps not who
without significance, that he uses the plural form four times. Thu
in reference to Achilles's novel he says, cod. 87 (66a, 24): 7roX
8f 01%LOTLO? V 7Ta a(T- K 1 7r Kat WXWCL TOW V 8L2771CL T)V, rX7V TXEv O V
TWV wPO(TooJ7rWV T77F 9vo/Lao'ao Ka 7/T pLVTvap&. ao'XpdrOT7TO, 7rp rPO Ta TO

'HXto8;pov 8pL/a'ra vAdXLTTCEL. In what sense could Photius speak of
Heliodorus's novel as Spi a'rTa? Elsewhere he uses the singular in
reference to the same work, cod. 73, (50a, i8): Kat rTLV aVp 7/ TO1
SpalpaTro "v7rdcr L: XaptKXcLa Ka O?ay'rls. He can hardly be referring,

in using the plural, to the several books, as T-rTopLaL and Xpl7TO/dOELaL
and rpaylpaTcauL might be used of the several books of a treatise.
The division into books in the present case seems quite arbitrary;
there is no such natural division of the narrative at these breaks
that each book might be considered a 8pa/a in itself. Rather, he
would seem to conceive of the whole composition in his mind as
containing various small scenes or descriptions. Thus, the account
1 Cf. also Theod. Prod. IX, 413 above, quite in the sense of 7rd0os, but of a
pleasant or humorous experience.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
Stage-Termns in Heliodorus's Aethiopica. 17
of the fight before the walls of the city (Bk. VII, chap. 5 ff.) might
be thought of as a 8patna, or the description of the meeting of

Knemon and Kalasiris on the banks of the Nile (Bk. II, chap. 21 ff.).
In fact, any short account of a piece of action, whatever the char-
acter of the action, would come under this head; also the action
itself would be a 8p&ata. In the same way, Photius calls the work
of Antonius Diogenes Spiaram, cod. 166 (ix I a, 30): ? yoov AoyCV1s,
0 Kai 'AvT6VLOs, T7rav L 7vra iacv'wa civ c ayaywv 7rpho Kttflpav rcpaTcv-
o4Lpcvov, O)o ypa4.pcat a VTavnvoT onT -c ETVwr77CL T 7rCpL T T Vrp ?ovX21/0

a7rt(ToJV, Kat on 7--y T a8ek-X 'pa (PtLk 4 XO/taGW X 7 8p4LaOa
rrpoo.wvS*t. Also, i i b, 30: ovo LV OVV o KataL ioVotsL ~ rwv pa-
/LarovY rXaOL~ 7r~ 'AvrTovtLw' AtoyevcL e XoqpiaTTrat. We have not
Diogenes's work before us, but only the summary of it which
Photius gives us. From this summary, however, it would seem
that the plural apadtara would be rather more descriptive in this
case than the singular Spa&a, though the singular also might
undoubtedly be used of the work considered as a whole. Photius
uses the plural also in cod. 94 (73b, 27), in speaking of Iamblichus,
Heliodorus, and Achilles: ol yap TplS 070v TOL eSv T Ov y avToY (qKOToV
rrppTevotL PTLK(IV Spat0vVc rTOOJrEL t7rKpt9lcr av, X" ,Av 'HXk'd-
Sopos, etc. The plural in this case, however, refers rather to the
three novels individually than to the various parts of any one of
the three.' Iamblichus's novel is called a 8paâ, Phot. cod. 94
(74a, 4): dEcrL S ae oT7 rr ?roL qLva 7Va 0o 8ptaL=o70 3 op(Twra, etc. Else-
where the word SpapuaLKO' is applied to all these compositions.
Cod. 73, avoyvYOv 'HXLo..pov AiOLowLK' V EFTL 7O MV7TLa 8pa-
FartKOV. Cod. 87, veyv;Orl0av 'AXefavspco' 'AXLXXwro TaT'ov riv Wrpt
1 With this use of pW7TLK,Y pap4c7WP as an expression descriptive of these

novels, we may compare certain other expressions. Chariton in the beginning
of his narrative (I, x) says that he will tell of a 7rdOos pWTLK6V. 7rdOo~ is often
used by nearly all these writers in a sense about equivalent to 8paiga (cf. p. 5).
Cadmus of Miletus wrote X6ats epOrTLKC' ra0wv (Suidas). What is meant is not
clear; some MSS. omit 7ra00v, and neither Bernhardy nor Bekker gives it in the
text. See Rohde, Gr. Rom., p. 347'. Parthenius in his preface speaks of his
collection as ?i Opowt rsT 7Wv pWTLK.V 7raO7/d7-col. Julian (I, p. 386, ed. Hertlein;
cf. Rohde, p. 3494) uses the term pWTLKral icroOOaeEs; cf. also Phot. cod. 94 (76b, 26),
7 7r6dOos r6 d4eXcX'p . And elsewhere often.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
I8 J.Tj W. H. Walden.
AECvKLtrrv Ka' KXELro7b&vra Xoyot . 7 eL r 8paplart~K

Ado'rovo errcttrdyov. Cod. 94, veyvOrl 'Ia/fXI'Xov s
VrOKpLVO CVOV. Cod. 166, dvc-yvWOvol-av 'Av7rowlov d
?ov'Xrv artoTWV Xoyot K '. 8pataTnfKOv o1 XOyoL. If o

is correct, the word implies nothing one way or
the tragedy or comedy character of the events
works, but states simply that the works are works o
action about people. The use of certain dramatic e
passages from Photius may be noticed (reKpt'OrlYo-av, V
r E1dyov), as showing that the word still retained so
dramatic associations.
What is to be said about the word SpaptarTLKo as found in the

rhetorical text-books? The Roman rhetoricians certainly made a
division of narrationes into fabula, historia, argumentum. The dif-
ference between the three terms is clearly stated by Quintilian,
Inst. II, 4, 2, narrationum, excepta qua in causis utimur, tres accepi-
mus species: fabulam, quae versatur in tragoediis atque carminibus,
non a veritate modo, sed etiam a forma zeritatis remota; argumentum,
quod falsum, sed vero simile comoediae fingunt ; historiam, in qua est
gestae rei expositio.1 The fabula is not only fiction, but it has no
likeness to the truth. The argumentum is fiction, but it has the
appearance of truth. The argumentum differs from the fabula in
resembling the truth. Both the argumentum and the fabula are
fiction. Furthermore, the fabula is found in tragoediae, the argu-
mentum in comoediae. It is supposed that the Greek equivalents
of fabula, historia, argumentum are respectively LVOLKOV', iTOpLKOdV,
8paptuax KOV.2 The most detailed exposition of Styrjpara is found in
Nicolaus, Rhet. Gr. Speng. III, p. 455 f.L, L TrV 86vytyLa70 T7r v
farL tVOLKa, 78 Z LrOpKd, 7ra , rrpayAlarKd, a Kal StKaVLKa KaXoVT7aI,
Ta 86%7rXao7LaTLKOa' UVLVLKa 'Lu4V Ta OVK &ValuoPf4r7r-7TWS Tr vOjLEva,
LX' vX77 Kal qEVovs v7rovotLv, oaa 7r rept KVKXWWV Kai Kcvravpwyv
L(Ti70opLKa 6 7 7T V T OOXOYOV/LEVS VO/LWV 'raXaLWV 7rpaya TWov, ota
1 Cf. Cic. de Inv. I, 19, 27; Auct. ad Herenn. I, 8, 12 ; Victorinus, I, 17, p. 199
(Halm. Rh. Lat. Min.).
2 Rohde, Gr. Rom., p. 351'; Susemihl, Gr. Lit., II, p. 5744.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
Stage-Termns in Heliodorus's Aethtopica. 19
'rvXOV rd irc~P 'Ept a3-vov" 7rpoaybEaLtKa ~ E7rTO 8LtKCLaV&K 7 r V O'v r TOXL-

TLKO~t syFw(L XcydELcva" 7IrXka(TLaLtKaS 7' r v Tard K/LC(jl8aL'i KaE TOls
AXXoL pipap'afuLv. KowvMvE 68 ra V UCv V6VOLKa TO ~LVO OLS 7r~ tLp06oTpa
eXat 7ra&LL WTTEw [Taa 8s] &La4pe'pL, TrL e p'V 0sOos [L] Trw v/LOXOyOV/E'VWi
qtcv8wv, ra 8c 'VOLKa' KaLt rap' aXX(v i yeyovoTa TTopr/7T7aL, KKa tov
iv8ciogIveV dart KEL /pL. ETL KOLVWVEL 7r A C7r paTLKa TO /oi LvOLS 7(
pL/4oTcpEL 7rIAE aecTrErL, aL' cipe't TC'K Ta e.LEV, EL KELL /tIt YfYOVEV, oOW'3 XzV
0 1otv yev'0O0aLL. The 7rpaypAnLKa' or tKVtLKad are what Quintilian desig-

nates as qua in causis utimur, and with this class we have nothing
to do. UroptKeOd, again, correspond to historia. 7rXaaLc-TLKad are what
are elsewhere called also 8parietKd. Etymologically the term would

include both the fabula and the argumentum of Quintilian. Etymo-
logically 8pautLKai also might refer to the tragoediae as well as to
the comoediae,. TEr lVOLKLd are explained still further a few passages
earlier, where the question is about u^0o0t; p. 452, TroVTVo si t rVE
Ketl ov e /lV&OV%, WLMa VOtLKE EK7A' E lVo 8L?77/.a7a9 al8vaEL/tyvvvrTE av a
0oti 7rept 7 Lv IeracLopO4ova XdyOLS K 7G v W EKELVOLS 7rapaLrXowov.

Such &8ly'/Jara as are here called UV&LKa' are not exclusively and
distinctively themes for tragedy. Such themes as ra r7Ept KVKXW7rWV
K ea Kvraipwv do of course appear in tragedies, but it is not easy
to believe, without some direct evidence of the fact, that tragedies
as a unit were classed as EAlVOLKU and excluded from 8paxarLKad. We
are not under the necessity of considering (as Rohde does consider,
p. 351') ) ro XXOt o 8pOaotrv to refer to novels or fictitious narratives.

Comedy, as having, at the late period to which Nicolaus belonged,
the more vigorous existence, would perhaps naturally come first to his
mind and be expressed first. So in another definition of 8pa/LamTLK
a few lines earlier, p. 455, sPpatMaLKoL 'e, o oc d r avVT(v O(v V7rOKELt/E'OV
rpo momnrowv a rLOvov, /x %lrape/Patvwo~ivov rov a-vvrTOEvroi 7POTpo47rOV, Tdra
r KO)tLLK 7rvTa KKaa 7paytKd. In the sentence Jtn KOLVVE r 7rX aor-
kTarnKO TOt svouoos, etc., Rohde apparently (p. 3511) understands rols
'Oot as if it were ToV /9vOLKOT&. Nicolaus, however, makes a point
of distinguishing the two terms. If we understand Ta 7rXa/La'rtLKda' to
refer to dramatic themes in general (and not exclusively to comedy
themes), we are told that comedy themes and tragedy themes
resemble u0vÔL in being fictitious, but differ from them in contain-
ing matter that is like the truth. The only other rhetor who gives

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
20 J. W. H. Walden.
us the class uvOtcda' is Hermogenes,' S

eLvat /1UVLKOV, 7 8c 7rXao-ruTLKoV Ka 8pa
TpayLKWV, T ocr TOpLKOV, T rOXLTLKOV
SpaarTLKc v explained as Tr rwv TpayLKW
change this to rT rTV KWO.LKWV.2 Other r
Apthon. Speng. II, p. 22, T70 V 8c8Lqyj a7ros
TO 8 TOPLKV, TO c 7rOXLTLKdV KL P ap~raL

T0optLKOV & To 7raXa LaV EXOV a -yOlwv,
p. 128, &TM sE SToVTOV T 0%uV cv8pa/iaftKOV 7 '7rXaC
oap Er rpaypaLKOV Ka% tLKaVLKoV, T~ o

I, p. 122, rovTov 8c T /ucV oTL S8paL/aTLKo
i-ToptKOV, T 7raAataV XOV yorLV, 70 8r
the omission of 7b 'UV&LKV in these writer
ness, or whether there was felt a tendency to
(8paQarT'Kd) so as to include even the JpLLK

were also fictitious, it is not easy to say
found in Sex. Math. I, 252, in Asklep. Myrl.,
Susemihl, II, p. 5744): T yp YP TOp7Too sTVV

T/V 8 ~frEV8v, T/V 86 8C aX77&V, Kal &XV/&Vj ucV TV
rCpL 7rXOT'la, aa KaL tqA'Oovs, j &XrlO 8& oa f'rrOTv - KwOLq8cLa KaL ol ipiaot.
Here the A0&30 is Tr 0roXLTLKoV, and not T iLo-opLtKOV; the cv8A3 is
oI /uiOL, and not To 1v&LKoV; the s &4XOV is Tr 8pa~/TLKOV. Though
Tragedy in this case is not mentioned, it is not necessarily excluded.
Similar is Mart. Capell. V, p. 185 (Eyssenh.), narrationum genera
sunt quattuor: historia, fabula, argumentum, negotialis vel iudicialis
assertio. historia est ut Livii. fabula neque vera est neque veri similis,
1 I purposely omit above the passage Anon. Seguer. Speng. Rh. Gr. I, p. 435
(see Thiele, Neue Jahrb. f. Phil. u. Paed. 147, 1893, P- 407), aCt v Eldt LwortKal, al
6U loroptxal, al U 5 OvUrOal, al ~ reptrertKal, both because paLaLrtKal are not men-
tioned and because the meaning of some of the other terms is too uncertain. For
recent discussions of this passage, I refer to Thiele, ' Aus der Anomia,' Festschrift,
Berlin, 189o, p. 124 ff. (not seen); Jahr. f. Phil. u. Paed. 147, 1893, P. 403 ff.; Rohde,
Rhein. Mus. 48, 1893, p. 1362, 138!; K. Burger, Hermes, 27, 1892, p. 345 ff. Two
passages which might be brought to bear on the discussion are Dionys. Thrax, 2,
and Schol. to same in Bekk. Anec. II, p. 747. See also Susemihl, II, p. 5744.
Plutarch wrote vAOLKI& 5rL'yjjlara (Jul. Imp. Orat. VII, 227a).
2 Cf. Priscian's translation given below.
8 Two of these three compilations are virtually epitomes of the third.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
ut '.Daphnen in arborem versam.' argumentum est, quod non facta

sed quae fieri potuerunt continet, ut in comoediis ' atrem timeri' et
'amari meretricem.' Cicero in the passage already referred to
(p. 18'), de Inv. I, 19, 27, gives as examples of fabula, historia,
argumentum, the following lines respectively :--
'angues ingentes alites, iuncti iugo .

'AAjhius indixit Karthaginiensibus bellum.'
'Nam is iostquam excessit ex epfebis.'

What is meant byfabula in all these cases is sufficiently clear, and
it is doubtless the truth that more such lines as the first of these
three would be found in tragedies than in comedies. It may reason-
ably be questioned, however, whether the Greek term 8pacMrLK&v was
ever so restricted in its meaning as the Latin term argumentum
appears in some cases to have been.' There is certainly no evidence
that such was the case. There is nowhere in the Greek passages
a statement to the effect that r Ja VOLKdL were Ta 7i v 7payLK&v, while
there are at least two passages (one, to be sure, less certain than
the other) in which it is stated that d S papLTuLK. were r 7 jv

rpayLKOV. Priscian, in his translation of Hermogenes, repeats this
statement, Praeexercit. Rhetor. 2, narratio est expositio rei factae vel
quasi factae . . . species autem narrationis quattuor sunt, fabularis,
fictilis, historica, civilis. fabularis est ad fabulas supradictas perti-
nens. fctilis ad tragoedias sive comoedias fcta. historica, ad res
gestas exponendas.2
1 It is interesting to find the word fabula, which was of course a term of

general application, but was applied by the rhetoricians specifically to tragedy
themes, used once in direct contrast to tragoedia. Apul. Met..X, 2, iam ergo, lector
optime, scito te tragoediam, non fabulam legere.
2 After rb AVWOLK6v was applied to that which is both fictitious and impossible
and rb lcropcK6v to that which has actually happened, we may suppose a need to
have been felt for a word to apply to that which lies between the two--the
fictitious but possible. rb 7rXao-arCrK6v, the fictitious, and, because the fictitious-
possible was best known through the drama, rb 6palarrb6V, were the words used.
In proportion as things actually impossible found a place in tragedy, to that extent
would there be the tendency to restrict rb 7rXw ar~LK6v (and with it rb 6paaTrLK6v) to
comedy. This restriction seems not to have obtained in Greek, as was apparently
more or less the case with the corresponding words in Latin. Even if SpaLjarbK6y

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
22 J. W. H. Walden.
It does not appear, therefore, that the word Sp
by the Greek rhetors had an exclusive reference
Much less is it probable that the words SpaarnK
used by Photius in reference to the novelists, had s
meaning. Nor does it seem to be true that the f
was what was had in mind. It is not by any me
the events described in the novels are always suc
truth (XELv ~('L-v yev&rOOa). The most noteworthy

the Tr^v roip OoXv rio-rTw XoyOL K8' Of Antoniu
in common with the erotic novels, is called by Phot
and SpiLcara (see p. 17). All of the tales therein told
irXacrLaTLKd, but many of them might very well c
of LVOLKa', as far as their probability or possib
The only respect in which they seem to resemble t
is in being descriptive of action.2 The Sp4/La as
then, would be a narrative or description of any so
happenings, adventures, whether those happenings
bounds of possibility and probability or not; wheth
7rpor.w7ra) were pure inventions of the author or no
were so used, it would not necessarily carry 8pa&Aa with it

tells us, was something different technically from 0os 7. rb rXac
best word to describe the idea of the fictitious-possible, b
expressing too much. As a fact the word was used of the f
Photius (cod. 9o) speaks of some of Libanius's Xb6yo as wrX
course has nothing in mind resembling either comedy o
have used rb 8paUarZLK6V, in a less technical way than th

define it. Cf. Philostr. Vita Apol. V, 6, . .. . XX&d r^v paIaxr
-rov77al OpuXoo"rv -KeubVOL Av' 'y&p TvqU W^ , a 2 'EyK2Xasov E6oOat baoh ;av..
1 Cf. Phot. cod. I29, of Lucan and Lucian's Onos, ,ydleL U 6 E KaCrpov X6yos
irXao'l.dTrwP pv I,VOtK6'.
2 From the recently published fragments of a new Greek novel, U. Wilcken,
Hermes, 28, 1893, P. 161 ff., a new fact appears. Wilcken finds the greatest
difference between this novel and all the rest to be in the traditional character
of the plot. P. 185: "Der Held unseres Romanes ist nun nicht eine frei in der
Phantasie des Dichters geschaffene Figur, sondern, wie schon bemerkt, kein
anderer als der sagenhafte Griinder Nineves." P. I9i: "1Dass unser Roman
keine frei erfundene Fabel hat, ist wohl als der grbsste Unterschied von den
iibrigen zu bezeichnen." Ninos's campaigns are described in detail. Wilcken
conjectures that the heroine was Semiramis.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
Before passing to the word Oeiapov it may be worth while to

remark that there seems to have been more than one definition of
the word SpapLKo'v known to the rhetors themselves. Cf. Nicolaus,

Speng. III, p. 455, d4c/f/y/La7LTKaL LEv, cra or7 uLLo'vov TOy drayyXXov7To
7rpoco-rov Ecl-tv, oL7a 7T rap I vp" EpaLTKa , ocra aT r7 wv - Tv
7lTOKrEL/EJVWV 7TpOcTWTwV ETL nLdoVOV, AL 7TapLcf(atLVOV L ovov TOy YVTL OEVTO7
r7pocdrTlTov, ElTa a KW/JLKa 7rT"L VT Ka 7ptyLKa ' taLLKT ea T 4 a OLV

TOV TC crVVTLVVTOro KaL T7V V7OKELEVWV V vyKEyl/VC 7pO cTOTWV, oRa Ta
'Hpo&'TOv KRa 'OpLpov. In the earlier literature Spa^, was of course
a word of general application. It may be questioned whether
the uALOoL SpauanaTKo which Nicostratus is said to have composed
(Hermog. Speng. Rh. II, p. 420, 9 yE Kal ptvOovs a r7T 7rOXXOv0 srXaffEv,
o K Alow~rdlov ~pLV, Xvov, &' oovs Elval TWs KLS 8papaTKOvs) and which
Rohde (Gr. Rom., p. 352) apparently considers a sort of incipient
novel, were not as likely themes for tragedy as for comedy.' One
would like to know the nature of the 8pparaa mentioned by Photius,
cod. 279 (end), Ka' /.%v Kal Y(pqvov, ypappaTLKovEV 8i tadpoLts JpoLS
8pidaa oBtdpopa.... Kat OvTOs (Andronicus Hermopolites) 8E 8paucirwLv
fanrT tr0tLr77s, &taopots LuerpoLv rovs Xodovs dVTelVv. . . . . vvTLOytL SE KLL

OVTos (Horapollon ypauLaTLKo' ) 8pcTcL 7T 4 OOL T" ). It is not
an impossible supposition that some of them at least were short
narrative poems on themes similar to those contained in the collec-
tion of Parthenius (praef.: paXrTa olto 8 oK(v pptL67TTEv, Kopv WXe

rIhaxe, T)v a0poLtLv 7-^v TOEpWTLKWV 7raOv/,LuapTWV aVaXE&9usE VO n 0(L) OTL T
ev fpaXVa'7rote
iXeydla ~vyytv draEraXKa.
7a daXtLra ..i ?a7-r2v
aVp TEapudsLta
fO 7- rapc'atL~
. .). TheeSsamples
brr7 Kat
contained in the 7rpoyvva'ocr-,a7a of the rhetoricians also occur to
us. I may refer here to an article by O. Immisch in Rhein. Mus.,
44, P. 553, on the Sp'/iamTa paytda of Pindar. Immisch concludes
thus as to the meaning of 8p-/pa and 8pa'/xra rpaytKa (p. 557):
" Proclus befindet sich dabei ganz innerhalb des von Rohde a. a. O.
behandelten Sprachgebrauches, dem zu Folge 8pa^/a urspriinglich
das 'gefaihrliche, bedenkliche Ereigniss' selbst, dann aber auch die
Darstellung solcher Ereignisse bezeichnet, Sihnlich etwa wie unser
aventiure. Wir diirfen also den Satz aufstellen": 8ppadara m paytK
1 Cf. the passage above from Philostratus, where /zOoL ppajcarLKco are illustrated.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
24 J. W. H. Walden.
bedeutet in spiterer Zeit nichts als sch

ernsten, ergreifenden oder furchtbaren
der weitverbreiteten Gleichsetzung von tr
so diirfen wir auch behaupten : Darstel
8pauaa -payKad, then, as applied to th

s. v. hlv&apos), would be descriptive of th
of the poems (ibid. p. 558): " Die fragl
eine zusammenfassende Characterisirun
Dichtungen Pindars. . . ." The referen
p. 35o, but Immisch misunderstands R
who derives the generic use of the wo
'gefiihrliches, bedenkliches Ereigniss.
(see p. 3, above). The view that has be
Spapa" signifies a representation of action
or not. There seems almost a tacit ackn
in Immisch's own words, for a distinction is there made between
8pda'/raT and 8paLuaTa TpaytKd. Why should the adjective TpaytKa be
necessary if Spa`,UaLa itself means representations of 'gefiihrliche,
bedenkliche Ereignisse'? pda'tLa-a Ko(JKa are also spoken of;
cf. Diog. Laert. IX, IIo, of Timon. The passage in Proclus, upon
which Immisch lays stress, is Com. in Remp. Plat., p. 53, 5 (Schoell),
where Proclus, speaking of the lines in the Republic (p. 615c) where
the Pamphylian tyrant Ardiaeus is referred to (yepovTa Te 7raTpa
a7roOKTEcLva KaL rrpco',v'rTcpov acXdAOv Ka'L aXXa S 'roXa' E Ka'L avo"tLa
ulpyao/ivos), says: oJa KaTTctEVEL 7TEpL t V IEV'ASov A Xemov, 7rept TE
To 70/1LOV To 1VK(wLEVOV KatL 7paytLK 7rEpL TOY 'Aptaov 8paaa La-

TplPOwV (cf. p. 57, 34). Immisch calls special attention to the last
rEpt as tending to show that Spa'/ara means not ' die Thaten des
Ardiaeus selbst,' but 'das Verweilen Platos bei den von Ardiaeus
erzaihlten furchtbaren Geschichten' (p. 557). It is to be said that
the 7rpt' does not make this view a necessary one, as a consideration
of two other passages will show. The first is from Proclus, p. og9, 8,
where the same Ardiaeus and his Spdpa'aTa are in question: :ero'~vov
6Sy T0As' & 7 (24s vroycK v TomoV TOVT TO 7radosvro/ev, is a tol" tak e
'A 8pov ppa'Lca Kcl tuAto-Ta 'T 7a 7ctT Ov 'Ap8Latov 4EKTpcrOLvas ovv o
rvpavvLKOvs /LV, O 4SEPOrVaC 8Ea Se Wo ( awsoVLO Kal Kovewde stoL cTa ta
Tas XOOVlas twAs KcL Tv Aoylav SVrXov('TL). It is harder to take

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
a rTEpL TOY2 'Ap~aZaov (Spa uz?a) here as meaning 'the account of the
doings of Ardiaeus.' The other passage is Hel. 168, 5, o mo 0V
p~ 7t pL ta Es Te L dPOV r Lpov ipKvVaTE, where Spaia cannot mean
narrative. 8paLcaT TmpaytLK referred sometimes to the Tpay&saL
proper, as Demosth., de Falsa Leg. 247, and Aelian, Var. Hist. XIII,
I8, and so E. Hiller, Hermes, 21, p. 363, understands the SpdLaTa

SpayLKd of Timon (Diog. Laert. IX, i o). The lOVKOXLK% 8 pa aT
of Theocritus (Suidas, s. v. McrXos) are still different (cf. Hiller,
p. 3623). For the uses of Kwout&a and rpaywtcts see Immisch's
article. Attention may be called to the epic poem called Orestis
tragoedia (Bachrens, Poet. Lat. Min. V, p. 2 i8 ff.), which is generally
thought to have been written by Dracontius. A Greek poem similar
to this and having a similar title would doubtless have been called
a 8pa&a.
2. O&Tapov.
The word O&aTpov occurs nine times, and shows some interesting
uses. For a general discussion of the various uses of the word in
Greek literature, Albert Miiller's Lehrbuch der Griechischen Bfihnen-
alterthiimer, p. 48 f., may be consulted.
a) Used of the theatre structure itself, the word occurs 119, 8, KfU
T O capov yl7VETO VvKTptV v flovXOT'pLov. A place of assembly for

the people. In i21, 13, the meeting breaks up and the people pre-
pare for
refers war, -o \S
accurately notO~E apovbuilding
to the els ov rA.Xov 6ehXV'o.
but to those Here the
assembled word
in it.
The name is easily transferred, of course, from the building itself
to the assemblage.
b) The word refers in one instance distinctly to the auditorium.
185, 12, 7j -rdtsXL& SE (cT7Ep EK E a7pOV 7TEpLErTcoja TOy7 TEL XOVs qOXOOTCL
T v Oeav. Tr7v Oav is the contest between Thyamis and Petosiris
before the walls of the city. The people on the wall are as a row
of judges.
c) The word is used, as in earlier Greek, of the audience.
97, 13, Kat ccavrioa ,rav Lv 7- O&Eapov 4"c avTrVv iE7TEYTrpCev, 6/0rl 9
'Xa ov8ETs 7-v OayE'OVu dOcOaX/OLv.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
26 J. W H. Walden.
251, 7, rTrOE 8' KaL of Al'o-orc 7rX?7lcLOdavr
7ropO~uLo'v rpo T 7roXLOpKOVACVOV oOETpov TOL8C XCyOV.

It will be noticed that in the latter of these two cases the refer-
ence is not to a real audience assembled in a theatre, but to the
people of a besieged town who are standing on the walls of the city,
waving flags of truce.
d) A. Miiller leaves it undecided whether O'a6pov was ever used

of the play itself or not; P. 49: "Wenn ferner Lexikographen
lehren, dass Oearpov auch fiir Schausjiel oder Theaterstiick stehe, so
sind die fiir diese Bedeutung anzufiihrenden Stellen derart, dass
auch der als der erste aufgestellte Gebrauch des Wortes zugelassen
werden kann." The passages from the Lexicographers referred to
are Hesych. OaTrpov. O aLa a ov'vayaa, and Phot. Ocarp - 0 T OcTa7pov
opOv, T 1 OeaTrpov cvvwcrv. The word is used metaphorically of a
spectacle twice in Heliodorus.
4, 7, KaL uvplOV 8S0o &o SaUw/JaV E 7t LLKpOV TOy Xp'OU SL&ECKE1&crcV,
otvov ajaTt LpuaVclg KU CTVC/LrOCTLOL c 77o-1XElOV O7 , ovovs Ka r U TOTs,

TrovS&1 KaL K r Lay U srcFvv/a, Ka1 TOLOV K' TO 7V to^T O kraLp Aiyv7rX-L'oLy
E7rLSE'$a. o yp 1TC8 KaT 7 pO pos OpOV' savUTOV 7TOVSE KaOt'av7te oi8S
(Tvvicvat TVV -K-ooV 4 VVO;VTO.
249, Io, TeXO 8 T EP XP E~O T oV 7roXllov Oo7OVTE " o XOL 1v

ifr&eTOJTa' KaL9 KaTpOV Ta 7 ra KIT E O' 0 K&EiVV 7TOLOV/vov;.
There is one similar passage in Achilles Tatius, I, 16, K 7o
O&aTpov E7rTSLtKVv'aL 7TJV 7rT7pOV (of a peacock). Liddell and Scott
give, I Ep. Cor. 4, 9, OeaTpov yvyevvaO = Oerapl~trOat.
e) 77, 28, E-7l 7re ro/7r'l Ka 0 o'T V/LTa Evayto7Lo'o ECrX'O'0'- . Kal
ov
a-0so ;ee7rTcTTe
-K -TEXEc-VTO,
Xo'yos,7raTep, inroXa/
&XX' ets VV Kv--w.v EiLo
7crav 5repp0oX ayov- OVoa)W
7 oT7rViLvov OcaTrYv -
Ts aKpOWTEWs
KaL avTO7wTTVt aL 7rEVSo0V7aT 7T'V 7TrV VptLY OXT7Ep KaTo7rLV EopTs V/KOVTa, 7To
70 XO'Yov, 7rapaTpeXCLt, 0L O Te avoltat Ka KXEla 7To a7TpOV.
The question of a curtain in the Greek theatre has been much

discussed. See A. Miiller, p. i68 ff., and the references there given.
There is no passage which obliges us to assume a curtain, and
indeed the question would seem to be decided for the theatre of

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
the 5th century B.C. if we consider the stage as eliminated. Perhaps

no further evidence for the general use of a curtain at a later
time is needed than the well-known passages in Ovid and Horace
and the other Latin authors.' The passage given above may point
to some device for separating the part of the theatre devoted to the
scenery and players from the auditorium. The explanation of the
passage is as follows : Kalasiris is describing to Knemon a Delphic
festival. He mentions the procession, and is then about to dismiss
the subject with the words rketd S ~ roIrr', etc., and proceed with his
story. But Knemon, who wishes to be informed of all the proceed-
ings, interrupts with the words Kal p'v O K CEX&8-, etc. Kalasiris,
in simply touching upon the procession and then dismissing it, has
drawn the curtain aside for a moment and then immediately closed
it again. Such may be the idea. It is not impossible, however, to
understand the passage as referring to the opening of the back
scene and the action of the iKKVKXryqa, or even, less specifically,
to the opening of the theatre. Of course we could not in any
case assume more than that there was something of the sort in
Heliodorus's time simply.
f) 135, II, Ka~l -q u ypanO, 7TaLapUtKOC 0;o iratv 7Tp0/aTcL, aXaltattIXp

,alcv y7 pe 7prpOl 7rCPLWO)lv CEq ,;, rTq'v Se' vo/l)7V Tq' rayXLo 'rXay;otc
ivSdortpa Tr-q cOv'pLyyo- 7OLLLVO.awLva. . . . eyepa7rTo Kat dpVeLtov lraXa

crTKLpT~?/Lara " Ka oL /v ,Xrl Tv /rt r-v rTepav aVarp'XoVTES, OL E 7 rpL
TOV voiJUa KVKX OV YEP XO1)~ CiT'XLTTOVTE, 7rOL/LJEVLKOV OaTpOV O7rcEL'KVrV(Ta
TOV KpI/L/VOV.
The position taken by the flute-player during the performance of

a play is not known.2 In the regular cyclic choruses he stood in
the centre of the chorus.A A. Miiller understands the OvpXrq in the
Greek theatre to be a platform erected for the evolutions of the
chorus,' though he implies that there was also a platform of some
1 See Miiller, p. 1693; cf. Apul. Met. X, 29 (on Grecian soil), and I, 8.
2 Haigh, The Attic Theatre, p. 276.
8 Cf. Wieseler, Ueber die Thymele des Griech. Theaters, p. 42, and references.
4 Biihnenalt., p. 129.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
28 J. WI. H. Walden.
sort for the flute-players and the cithara-players.1 Ap
ever, he does not look upon this as being in the c
orchestra.2 He opposes O. Miiller's view, that the
altar in the centre of the orchestra about which the c
evolutions, and on the steps of which the leader of th
his stand." Pickard, in his Der Standort der Schaus
Chors im Griechischen Theater desfiinften Jahrhunderts,
has recently gone back nearer to O. Miiller's posit
the musicians on a part of the OvpAe in the centre of
The passage from Heliodorus quoted above is decis
to the position of the a=rrs, though whether it i

pendent cyclic chorus the writer has in mind rather t
chorus, is not so certain. Heliodorus is describing th
on an amethyst. The youth stands upon a rock, he
his herds by the music of his flute. The young ram
him. Some surge toward the rock, others wheel in
In so doing, rOLIECVLKOyV O&pOV EriwELKVVT rV T p'LVdOV. It is clear

that the young rams, running and frisking, suggest to Heliodorus
a chorus dancing, but the meaning of Oa&rpov here is peculiar.
FOLJA~tKOV O'arpov cannot be a pastoral spectacle; the whole scene,
including rock and rams, might be called a spectacle, but hardly
the rock alone. The reference cannot be to a stage, for the chorus
would perform its evolutions before or on the stage, not round it.
The words rOLCEVLKO'V OErpOV TECKV1aV rOv KpOVyovo = 'thereby
(i.e. by running and jumping and wheeling their circles) they make
the rock (for the time being) a pastoral Oa&rpov.' The reference is
clearly to a pulpitum of some sort, upon which the flute-player took
his stand and about which the chorus performed its evolutions.
It seems probable that this pulopitum was in the centre of the
orchestra, and was the Ovuc'X, or at least some part of the Ovuc'Xj.
The words of Heliodorus would seem to imply that he had in mind
something resembling the cyclic choruses rather than the regular
square chorus of the tragedy, but whether an independent cyclic
1 p. 130, and references. 2 p. 368',

a p. 131. 4 So Haigh, p. 132 ff.
6 We are reminded of the dolphins in Ov. Met. III, 685, inque chori ludunt
speciem, etc.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
chorus or one in conjunction with a play, it is impossible to deter-

mine. In any case the passage is pretty clear evidence on the
position taken by the flute-player in some choruses in the theatre
in the time of the writer. It is perhaps hard to believe that
choruses of any sort were so common in the age of Heliodorus as
such a reference, applied to his own times, would seem to imply.'
On the other hand, it is hardly conceivable that in an allusion of
this sort he could refer to anything that was not more or less
familiar to himself and his readers - that he could have in mind
a feature that belonged to a period several centuries earlier tha
himself and was known only as an antiquity. A difficulty aris
in connection with the position of the 0vu'X-q in the time of Helio-
dorus. After the theatre had acquired a stage, the OvpXr-q cam
somewhere near the line of division between the stage and th
orchestra (see Suidas and Et. Mag. s. v. crKrvr). Under such
condition of things, where are we to suppose the flute-player t
have stood, when it happened that his services were needed in
conjunction with a chorus? Probably still, in any case, in t
centre of the chorus.
3. o'K7VJV/7
The uses of the word O-crKvi in Heliodorus do not offer much

variety. It is used of the 'stage' (or that part of the theatre
devoted to the actors) and of a spectacle.
a) For O-Kvr" in general of the 'stage,' see A. Miiller, Biihnenalt.,

p. 53. The following are the passages in Heliodorus:-
44, 22, T-V Se awTpOO'8OKrq'OV T13 KCEtL/CtrJI -7rt1yVocrWtV OTr7E i (TLKTqV

&lqLovaL a '7rcE&pawGKE1.
62, 7, Kai Jwpa croLt 7\0 paa KaOall-Ep brit OKrqVT)Tpr XoY-i &SaGKEVa'ELV.
Ioo, 28, 1pXI-'dPr' V G ECr L riTK-qV3 -7 T rOKPt'O.

132, 20, KaL T I K r6'aOa7rEp Ep E MTK7V)Y avayvIOptLcrta.
284, 22, Ovyaecrpa t/L2 oxTJcP 'c crleqvr, E$ Ca7-opov cavrmv Kat oti EK
/tyxa"/ ovavOaav'ovoca.
1 And yet witness the elaborate chorus and ballet in Apul. Met. X, 29 ff.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
30 J. W. H. Walden.
It will be observed that the expression
passages. Cf. Arist. Poet. 24, 4, -Tr a r-K

b) In five cases the word means a specta
recorded by A. Miiller, though Liddell and
10, 72; OKr-V' 7rI S 0loW .
4, 9, KaL totorov OaEpOV XYjovaX? Aiyvrr
KaTa T7 opo pO EOpO" CavrTOv T V'VE KaOG'aVTEs Ov' oJUVVVat 7 V T'Krin/V
I vvavTo.
48, 6, 9r a R Kal 8LaroVTrLOt ?sKELS & Epav KaO" lqOv cK-)vqv 'ArrLKtV Kat
Iv AiMyvrrp rpay&,io'ovo'a.
129, 2, Ocrrrp QKqVqqV 7r il 4trcpa Kat appoa w~ErOLrnLtvOS.
168, 6, ovro r\b T pe0 a b rcp at -/a sEL dasrEpov EJt.KVVaTE7 Kat rrarav
XOI-O\V G -KrqV V7TEp c1/-YETaL.
175, 18, Kcrlvq 7TLVO c; OK evayov~ Fvv, cata, & Aiyvrrats errLXpta-
tov'o?- OcpO~ EyL'VETO.
The idea of scene here is not that of scenery, but of the acted
drama.
4. XapkCrda&ov 8pcdtarTo;
310, 26, a9c yoVV Kat rXat ovup flaXXE v Xp V rt / 7t'poo EVTRat ol Ow
rT)v E VrpE7TLOobEvrvV Ovl'av, vi~v pav r~Tv aravoXfltov Xapt'KXELav $ avrOv
ot r v fpwplCv Ovyar'pa ava'etavre % Kat v Tairys po~ a, KaOdr7p K

Eyg JK /o 9 `sEX 40 draiOa ava/r/Icavres, avO v W Tgvrot'av
KaL 7TY 7TpaX OV TOV 9 rpOufOl LOts7T7OLt9 Ka\& PovcrwV 7Z0L 'aAovTEf, Ka
K 8taKorRoa~cE Oat r TEXErTEpa vo/At5dova TrV ?EpetW or'vufl3XXEtV 7apr-

Xovr v10 V r-q KOpw/Vta 't Sv LyaOLv Kal tJoar~ p Xa7Tra8dsov 8papLarog r v
vv APloV T7o Kopq) rTovTrov ToY Evov vcavlav ava0 cvavr~T.
Charikleia and Theagenes have been taken captive and reserved
by the Ethiopian king as a sacrifice to the gods in celebration of his
victory in war. The preparations are all completed, and the people
assembled. Then a series of unexpected events takes place, which
results in the release of the two lovers. Charikleia proves that she
is the king's own daughter, who has been exposed, when a child,
by the queen, but, having been rescued, has been brought up by
the priest Charikles, and is given her freedom. Charikles, who is

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
supposed to be in Greece, suddenly appears on the scene. A

giraffe, which is brought as a present to the king by the repre-
sentative of one of the neighboring tribes, causes a panic among
the horses and oxen which stand ready to be sacrificed. Theagenes
shows his strength and skill by quieting a furious steer, and thereby
gains the good-will of the people. It appears finally (,rqv KOpoWl/a
rOv ya0w^v Kai wro-Trp XaLda'd&ov SpaLcLTrog) that Theagenes, whom
Charikleia has at first given out to be her brother, is the betrothed
of the girl. He is released, and human sacrifice is abandoned for
all future time. The words given above are spoken by Sisimithres
the priest, who is urging the king to free the prisoner and do away
with human sacrifice altogether.
The reference contained in the words Xara'd&ov Spa/lTarol is a
puzzle. The only attempt at an explanation which I have seen is
that made by Koraes in his commentary to the Aethiopica, Vol. II,
p. 367. Koraes, relying upon a passage in Pollux in which the
Xapra'T&ov is mentioned as a comic mask, imagines something here
not unlike the Commedia dell' Arte of the modern Italians. He
supposes that the Xara'd&ov was a character who regularly appeared

on the stage at a certain period of the action, toward the close
the play.' The passage in Pollux is IV, 151 ff., where the mask
of the young women of the Comedy are enumerated and described.
They are given in the following order: XeK7LK'4, oiaXl, oKdpv, 1PcvS
KOpYV, 7ETEpa /EVSoKop, o7rapxrowdLo XEKTLKVj, TaXXaKVj, 'E"CpLKY TAeXL
'ratpls&ov opactov, &SyXpvo-o Vralpa, raltpa 8tLaELrpo, XCL/La7 ol/ov, c/

rEptKovpo%, 0EpacraLwLtov 7rapda'irqrov. The Xaeira'&dov is describ
thus: TOr )8aE\ da&LSov 1S rptLXWV gXEL 7rXEypLarog cE~ W6 droXyovr
I4' o0 Ki' K~EKhfX7T.7a Of course it does not follow that, becau
1 p. 367, &K Ov 7r v rSW 6 7rpOo(rWV L7EEpV'EKatL r6 XaITrd&LOv' o y,p 7b

7rOOKOptOTLKv r-q 7 XClrir&OS rvT7Oa o-ygalvet, aXX& irp6o-wrov qv oirws iOa6bevov, v4a
yvvaLK6', cKaO&K Kd irap& rot s vew7rpOts, Kl /LdXUTOra ro7 t'IraXoZs, oil r TLVa irp6obwra f'
70i d ed&7pots, oi ioZS 6ruoao -b6vov, dXX& Kal 7- XLKig, K - T- ^qopbZ, Kal T- o70X, 7Y
adl bptv et' el0ao-t, Kal Try Xp6vq, KaO' 0v 671 OK-qV'S ? rpoFKvaL vOl 'o7feaL, idtdovra Kxa
,TCV XXwv XXCagayvac. Ur 8 6 b Xagrd ov rTv r' 7 r4^ 7 e 7TX o 8pcparos ~raptL6vwv
rIpood6rwvW, c's yonv ortv elKdtEL K T7TO OHOXUE6KOUV, O' 9V T 7 KwTaptO~o-E t Tw^V KW/gLtK2V
7rpood-crwv irp6 5o 7rv 7E Xecvralwv av;rb l71otwv.
2 So Dindorf. Bekker reads b6U Xaci-rdtov 18Ca 7ptXrGv irXe-yar?b " art Els
d6?, etc. The MSS. are at variance. See Dindorf, IV, p. 828.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
32 J. W H. .Walden.
Pollux mentions the Xap.da'&ov near the end of the list, it therefore
appeared toward the close of the play. Reasoning thus, we should
be justified in assuming that all the characters mentioned appeared
in every play and in the order given. Pollux's order seems rather
to be based on the relative importance which the characters had,
either actually or in his thoughts, or on the relative frequency with
which the masks were used. Perhaps all that we can assume here,
if we can assume even so much, is that the XacmLra&sov was not one of
the most important characters in such plays as it appeared (or was
not one of the most frequently used masks), and that it was either
a meretrix or a slave-girl. Disregarding, however, Pollux's order, it
is quite possible, taking the passage by itself, that Koraes is right,
but there is nothing, so far as I know, to recommend this view of
the passage except the one reference to the Xac~-dLSov in Pollux.

We know nothing further about the character, and it is difficult for
us to believe that the New Comedy had set characters who appeared
at set points in the action.1 Koraes, after his explanation, acknowl-
edges that he is not quite clear in his mind as to the meaning of the
reference, and thinks that perhaps Heliodorus was not clear himself.
But, whether this latter was the case or not, the phrase must have
meant something to somebody sometime, and it must have had a
history. It is possible that the explanation is to be sought in some
other direction than in that of the Pollux passage.
Strikingly parallel to the words of Heliodorus is Plut. An Seni
Respub. IX (Moralia, 789), 6 0 rEv EElPLWKra 0TOXLTKrKact ?rpto'e Kat
8)YW-qOVtO7LEV OVK GKE( T rip' + &Zsa KaUt 7-/ KOPOMl/&L 'y Iitov 7r-pocXO4ETv,
aXX' X cvaKaXoVL/EVO, KcU KEXCVV WTwo-EEp E OooV L LKpCL cfra/laEAOaL..

We can hardly doubt that the explanation of each of these two
passages is the same, but of the two explanations of the present
passage which I have seen neither seems probable. Liddell and
Scott (s. v. Satg) render: 'to come to the funeral-torch, i.e. end of
life.' Similarly, the translator in Plutarch's Morals, tr. by several
hands, cor. and rev. by Goodwin, Vol. V, p. 77: 'to go on to his
1 In this connection the Atellan plays of course occur to us, as also a possibly
existing variety of the Punch and Judy show. But I know of no evidence that
could help us out on the present passage.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
funeral torch and the conclusion of his life.' Liddell and Scott
further refer to Prop. 4, 12, 46,1 viximus insignes inter u/ramque
facem. The two torches here referred to are the marriage torch
and the funeral torch, but the passage is far from being parallel
to the Greek passages. In the Latin poem the words in question
come in quite naturally; the funeral torch has been mentioned in
line Io, and the marriage torch in line 33, and the reference to the
two torches in line 46 follows quite in order. It is something very
different to refer without explanation to a single period of a man's
life as the torch of life. There would be as much reason to suppose
the period referred to was the time of marriage as the time of death.
Koraes, in his edition of Plutarch's r7 7roXLTLKL, p. 126, remarks that
the reference in the Plutarch passage is to the torch-race. It is
hard to see how this can be, however, and Koraes vouchsafes no
explanation. The expression Trtl rqv 8a Sa is equally inapplicable,
whether we understand that in the race the torch was passed from
hand to hand, or that the aim was to carry a lighted torch from
starting-point to finish without allowing it to be extinguished.2
Still, though we reject both these explanations, we seem to have
made some advance. If the two Greek passages are to receive
one explanation, does not the use of the word 8a in Plutarch
make
called ? it certain that Heliodorus's Xarcs&ov was not the mask so
Koraes is undoubtedly right in placing the XaErda'&ov pda'4aror,

whatever its nature, near the close of the piece. It may come in
as a climax of some sort, or it may be simply a closing feature of
the play. Either view would seem to fit the thought of Heliodorus
(as well as that of Plutarch). Of course it must be a more or less
common feature of the drama; otherwise, its use, as in Heliodorus,
would be unintelligible. We are advised by the difficulty of identi-
fying the Xac?ra'&ov of Heliodorus with the Xaurads&ov of Pollux, as
1 Paley, 5, II, 46.

2 Quite singular, and perhaps more to the point, is the race described in Hel.
Bk. IV, chap. i ff. Charikleia stands at the end of the race-course with a lighted
torch in her left hand and a palm-shoot in her right. Then Theagenes and another
start on the run, the contest being apparently to see which shall be the one to
snatch the torch from the girl's hand. The palm is the meed of victory.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
34 J. W H. Walden.
well as by the Plutarch passage, to go b

the theory of a real torch, which Koraes r
The solution may be connected with t
unsolved problem--one itself connected w
scripts of Terence. These manuscripts -
sian, and the Paris -have preceding each
the masks used in that play, and before eac
characters immediately about to appear.
reprint of these drawings has yet been m
impossible to study them as they should
are given by Seroux d'Agincourt, Histoire d
and by Wieseler, Theatergebdude und Denk
D'Agincourt, T. V, P1. XXXV, 2, and W
selection of the masks which precede t
consists of six masks, and in addition th
torch as here given is in the middle, three
How it appears in the manuscripts is un
Comedies de Terence, traduites en Fran
p. xxxii), says that the torch is beneath
D'Agincourt had the Vatican MS. before
Paris MS. According to one account, the
in the MSS. in the order in which the characters enter.4 What the
meaning of the torch is, and why it should appear among the masks,
1 Aalrupis and Aalrd-is were names of meretrices, Ath. XIII, 583, and Naevius
seems to have written a play called Lampadio (see Varro, L. L. VII, 107).
Cf. the name Phanium in the Phormio. Menander wrote a play called 4ducov
(Ath. XIII, 567). If a character by the name of AaC/trd&ov appeared in many
plays under similar circumstances, the name might conceivably become a sort of
by-word. This is far from probable, however. It may be thought a possibility that
the word 6pdcaros in Heliodorus refers not to the drama in general, but specifically
to the adventures of Theagenes and Charikleia. In that case, Xagrditov 6pcpdaros
would mean, not a dramatic torch, but the torch of the action. If this is true, we
should expect to read NXalrditov ro0 6p6puaros. Even then, Xag~rdi&ov would still
need explanation.
2 But see p. 43.
8 For the literature on the subject, see A. Muller, Biihnenalt., p. 1993. The
publications of De Berger, Fortiguera, and Von Coquelines I have not seen.
4 Leo, Rhein. Mus. XXXVIII, 1883, p. 335'-

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no one has yet determined. Mme. Dacier (I, Preface, p. xxxii),

unable to explain it, concluded that it was not a torch at all, but a
pair of flutes. Wieseler (p. 66) thought it might possibly be a
Bacchic symbol, but was unable to explain its presence among the
masks. Whether Mme. Dacier was right or not in her conjecture,
can of course be determined only by an examination of the MSS.
themselves. The representation from the Vatican MS. given by
d'Agincourt and Wieseler bears no resemblance to a pair of flutes,
nor does that given by Mme. Dacier herself from the Paris MS.
Wieseler's suggestion would apply rather to the Greek comedy than
to the Roman. Simply as a Bacchic symbol and nothing more, we
can hardly understand why the torch should appear here. If, how-
ever, we can assume that there was some formality of which the
torch was a feature connected with the production of a Greek
comedy, and that this formality, even though its significance was lost
or but indistinctly understood, was transferred and retained upon
Roman soil, then the presence of the torch would perhaps become
intelligible. Thus, we can imagine that it may have been the
custom in the Greek theatre, at the conclusion of a piece, for one
or more persons to come forth and make a burnt-offering to the
god, or even to march across the orchestra with lighted torch in
symbolic reference to Dionysus. The formality, as a formality and
nothing more, might then be transferred to Rome. The torch in
that case, as having an actual function to perform in connection
with the play, would not be so much out of place among the masks.
It would be to the end of the piece much as the prologzus (who also
appears in the MSS.) is to the beginning.
It is certainly a coincidence that Pollux mentions a mask called
Xaora'&sov, and that in these MSS. a torch appears among the masks.
It could not very well be the case, however, I imagine, that the
torch should be symbolic for the mask called Xaatra'&dov. There
is no reason why, if the mask Xaara'd&ov is meant, it should not
be drawn, like the rest, instead of being expressed symbolically.
Moreover, the number of masks represented by Mme. Dacier
(thirteen) is the same as the number of speaking characters in
the Phormio (excluding the prologus and the cantor). It seems
more probable that an actual torch appeared somewhere in con-

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
36 J. W. H. Walden.
nection with the play, either in the course of the action or

at the close. A comparison of the Terentian group of masks
with several Pompeian groups, reproduced by C. Robert in the
Archdologiscke Zeitung, 36, Taf. 3-5 and p. 20, lends support to
this view. P1. III is a representation of four masks used in some
play based on the myth of Andromeda, presumably by Euripides.'
Besides the masks, are represented the head of a sea-monster and,
near the mask of Perseus, a short sword and a second article,
which Robert makes out to be a wallet. The sword and the
wallet undoubtedly appeared in the play as attributes of
P1. V, I shows, in addition to four masks, a sword and s
strap, a bag, a spear or sceptre, and a staff.2 The artic
arranged in the picture as to show the character of th
In P1. V, 2, we find, besides the masks, a cithara and a
doubtless attributes of a meretrix.3 Similarly, in the other
more or less stage-property is represented. It is not im
therefore, that the torch in the Terence group was used
the characters in the play, either as an attribute or at some
the action.
It is noticeable that the torch appears only in connection with

the Phormio. How a torch could have any connection with the
action of the Phormio, or wherein this play differs so greatly from
the other plays of Terence, it is hard to understand. If this torch
has any connection with the Xawda'8tov of Heliodorus, it would seem
as though it should be a feature that appears oftener than in one
play in six. The fact that it appears in the MSS. but once, how-
ever, does not, as Wieseler remarks,4 exclude the possibility that it
belonged to some or all of the other plays as well. It may be mere
chance that it appears this once.
But, whether the article depicted in the MSS. is really a torch or
only a pair of flutes, and whether it stands in connection with any
one of the masks of the piece or is by itself and alone, can be
determined only by a careful examination of the MSS. themselves.
We can at present only conjecture how a torch may have found a
1 Cf. Robert, Arch. Zeit., 36, p. 13 ff. 2 Cf. Robert, p. 20 f.

3 Cf. Robert, p. 21. 4 Theatergeb. u. Denkm., p. 66.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
place in the Comedy. It may, as above suggested, have been

brought in at the close of the play as a piece of religious formality.
Conceivably it may have been brought in by a dumb character at or
near the close as symbolic of the happy marriage of the lovers of
the piece. We can believe that enough comedies may have ended
in this way to give meaning to the words of Heliodorus.1
Perhaps the correct explanation of our passages is furnished by
reference to the Eleusinian Mysteries.2 The proceedings in these
Mysteries constituted a 8p&~a,8 and an important feature of the
8pa?ua was the appearance, toward the end, of a sudden light out
of darkness. I give at some length, as being worthy of notice, the
passages bearing on this latter point. Themist. in Stob. Flor., 120,
28 (Meineke, IV, I07), -6TE 8c 7r xEXet 7rO, OLOV O TE XETais EYaXa

KaTopy7aLdo4 EVOL. . . rXca'vaL 7T a 7rpc)a KaL rTEpL8pO/LcLt KOWo)8EL; KaL 8tLc
rKOT0VS TLVE V7TOWT70L WOEaL KooL 'aTXETp EcL a 'po T TI oov

Ta '8tVaL 7rTa"Va, c/3PtK?) KLLL Tp0M0a0 KLL EL 1 KaU O' 0A/l/9 K 8K T0/3 ZE VTOV
4w; T Oavctov C qVT rqv E. . . . Plut. de Prof. in Virt. X. (p. 8c), oa

yap of TEXVo/EV&O Ka7T pxh EV Oopv/O Ka'tt f3o 7rp'b AXX'XovU o OovEVOL
VMrULa, 8poWplWvov 8E Kat 8ELKVVjLEVWV T0Jv LEp ^V, rrpoo-EXOvcTLv O rsyrl ,ET&
VdpOU3 Ka fLW 79 OvTW KWLL CLXLOWOcl. .V P . . .. " `V7 EVO-

LE?vo, Kac 4s -/ya 4 sv. .... Cf. Themist. Or. XX, p. 235b, 7) Tr 7EllXXv
LKE-Vr Kat To VsO(1 po~6 7rrEpp yvvTO KaL EiEalwVETro 0 vo0V K TO^
pfl3ovs, 0yyovs JvarrwXEW Ka &yXata s aVT TO rrpOTrEpov OKdTOv, 'Aopo-

8LTr 8E "rap-qv 88ovXovrT. . . . Apul. Met. XI, 23, accessi confinium
mortis et calcato Proserlinae limine per omnia vectus elementa remeavi,
nocte media vidi solem candido coruscantem lumine, deos inferos et deos
superos accessi coram. Mention is often made in connection with
the proceedings of torches and of the official called 8aso^xos.4 The
1 The word we should rather expect, perhaps, of a real torch brought on the
stage, is Xagrds, and not Xaurdt&ov. Still the use of the diminutive is not at all
an insuperable objection to the theory.
2 This explanation was suggested to me by Prof. F. D. Allen.
8 Clem. Alex. Protrep. p. 9 (Heinsius, ed. I688), An-W3 U Kal K6pm, 8paica n"8
-yev~Orlv UVO-K6V " KaL7 Tvly 7rXdVYv Ka~ T 7y dpnrayCv KCa Tb 7KrevOo CLIa~TCla'EXevoU i
8qSovXe^. Homer. Hymn. in Dem. 477, 8p1aoaeo6vvv 0' iepcp^v. Arist. Eleus. I,
p. 256, -r& 8pcLeva. Plut. Profect. in Virt. X, p. 81, 8pwevwv. And elsewhere.
4 Aristid. I, p. 520; Lib. IV, 189; etc.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
38 J. W. H. Walden.
83ovXla seems to have been a grade.' And

quoted would seem to suggest that some pa
ceedings was characterized by the use of t
of a great light. So, the critical point of a
well come to be referred to as the &ats of
of a 8p&pca such as that described by Heli
imagine, be likened to a Xa~rda&ov 8padair
a little to say for itself, inasmuch as phra
derived from religious customs and observan
things which are apt to get into the everyda
when once there.
And here I will leave this question at present. It is possible
that similar phrases to those of Heliodorus and Plutarch are to be
found in the late authors, Greek or Latin, but I have as yet found
none such.2
5-. 7irpoWava(YvO-, 7IpOELOc"LOv.

244, Io, Kat~ v V T0rep ev 8pafarTL rpoava4( vyL KacL rpoELco'&ov o7
yLVo/lEvov.
For discussions of this passage, I refer to A. Miiller, Biihnenalter-

thiimer, p. 366, and Rohde, Rhein. Mus. 38, p. 265 ff.
6. TEL-TKVKXE'O.
63, 7 Er tov ) TTO O bL rp TV 7Lo'VEO0 -ov, *
KVKXkq'acLa.
The technical word for 'rolling' a person into the presence of

the spectators was EKKVKXE'W: Ar. Thesm. 95; Ach. 408, 409. The
1 Cf. Theo. Smyrn. Math. I, p. 18 (Lobeck, Aglaoph. I, p. 38).

2 I will make mention of one further idea that has occurred to me. The fact
that the word KopWovI is used by both Heliodorus and Plutarch, combined with the
further fact that there was apparently a something called KopWvPl which was of
the nature of a closing flourish to book or chapter, suggests that the Xa'rdG&ov
may also have been a scroll of some sort. For the Kopwvis, consult Birt, Das
antike Buchwesen, pp. 102, 444, 468; Schwarz, de ornamentis librorum apud veteres
usitatis, zd dissertatio, paragraph xvi.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
opposite of this action was of course expressed by dE-KVKXW' : Ar.
Thesm. 265. This technical use of the words probably continued
as long as the theatre continued. Cf. Philost. Vit. Ap. VI, I ,
p. 245, . .. -v o 7rpodropov 'Ivol Terdaavre E4" '41/i47X 7E Kar
Odla'S wrXavqs KKVKXO0vcLV (not, of course, of the bKKV'KX-Iqa proper).
Clem. Alex. Protrep. p. 9, rov ... 8eoi . . . otov -El (TKVq? TOy fl ov
S. KKVKX"aw.1 Sometimes, however, the words were used less
technically, and the point of view taken was rather that of the
auditorium than that of the aKrlv. So CLoKVKXWOw is often used much
like bKKUVKX'W, and that as early as Lucian at least. Cf. Luc. Philops.
29, Kal r- 7Ov Xcyov, cEV r woXa1V EqrCUtKvKXKVOl U /0LtOLrrov j70V/ ~L

rb 7r rTvX-gv. The change is of course quite natural. The word is
used similarly by Aristophanes himself where the reference is not
directly to the theatre; cf. Ar. Vesp. I475. Then often metaphor-
ically: Luc. de hist. cons., 13 ; deor. conc., 9 ; Ath. VI, Ioo; etc.
Pollux calls the machine on which the ,KKuKX7qLa rolled, the
e~lKvKX-q/La (IV, 128).
7. 7rapEyKvKX~qcta.
186, 28, ,repov /ylvt`ro 7rapEyiKKXrLa o 8pT p/Xao70 XapltKXELa.
This passage has been discussed by A. Miiller, Philol. 23, p. 331 49.
Cf. also Droysen, Quaest. de Arist. re scaen., p. 25 ff.
8. E'rELcOS8ov.
Heliodorus uses the word iewd-osov three times, each time of an

action or narrative which forms a whole by itself and may be looked
upon as a sort of digression or interruption to the main action or
narrative. So in 63, 7, XaOsc ya'p cE pLKpov Kal Ei~ 7pa 7T Xdy y
KtKll/a3(Lv, thebrWELOOV 7 TOTO 016V U /)Loo, ips TOV d o htvvory, 2AELcT-

KVKX77ca, the brwcw-tov is a digression from the main story. In 1 , 26,
0VK EV KiLpW vEOLT aV WELO8-LOV VW W TWV V IE7TEWV Ta EJt eTEEL V
1 Heinsius reads -tyKVKXh?w, but eKKVKVeW and eKK6KX-/j.a are often written with
a -y in the MSS. Cf. A. Miiller, Bii~nenalt., p. 1472. This is due perhaps to a
confusion of sound combined with a change in the point of view similar to that
mentioned above.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
40 . WTV. H. Walden.
KLKad, Knemon's narrative is referred to. In 185, 15, K
SLO erverpaywSE rOTS 8pwOuvo&s, dO(rc7Ep E l aVT1;yvjWvLCa 8paf/aarol ;px-qv
AXWov rapeo-r'povo-a, the scene is the fight about the walls, which
is pictured in the writer's mind as a stage action (cf. 185, 12, -q rro'.~
S~e/rcrp 1K eTdrpov, etc.). rco'd&ov refers to the turn given to
affairs by the unexpected arrival of Kalasiris. Heliodorus seems,
however, to have been not quite clear in his mind as to what he
wished to say; apXyv 'vXov (8pda'aTros is something quite different
from rLaod8tov. Can we believe, as the words would seem to
suggest, that there were still dyw^ves at the time? For further
evidence on dyOvc~s in the time of the Emperors, see A. Miiller,
Biihnenalt., p. 313 ff.
9. rPy,p8E.
rpayS6mO is used once, quite regularly in the sense to refresent.
48, 6, ETrpav Ka0' LOV KVV 'ATTLK V Kal iv A yr1 rrr rpay-
8-jcovo-a.
Io. i7rlrpay9)wE.
a) vE7rpaySew is used, as elsewhere in late Greek, meaning to
utter in a tragic manner, to rant.
6, 25, 7 /LYV rtarTa E7i-E7rrPtyEL. 198, x 7,7/ 8 8\rerpCay L.

The reference in each case is to a long tragic lamentation.
b) Elsewhere the i~L- has the force of in addition.

69, 7, 7rErpa8Ey L roVrp rW 8pa'/LTLr KaLt e7pov raOos 6 8tSLwv.
185, 15, KLVroV 7LTdrtOLOV e7erpay'SErL TogS 8pwLe'VOLS.
II. 7TpLyLKo0.
The word presents no uncommon uses.
a) I29, 4, 9('7iEP ( K77VYV ~ Taj/L7Tpa KaR 8pa l E rroLVo3. T7r ovv

oVX VroTe/lvOtLyev avrov Tv rpayLK77V 7Ta7TV TO0LooTV,
b) 187, 22, Ka~l ayV 0 O at/ 7oO- KpLO7JOeCrOaL rrpoc8OKW(tEVOq E S

KWIJLKOV EK 7ptyLKOV 7To TaXO KaOTr7rpEc.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
Stage- Terms in Heliodorus's Aethiopica. 41
The reference is to the hand-to-hand contest, which, instead of

turning out seriously, had an unexpectedly happy ending. KWOLLKOV
= having such an ending as comedies have, i.e., a happy ending.
c) 194, 18, e To paytKOV 7 OKTrTEWO KaL V7EpO7KOV KatL 7pO; KaKOV

yevrl~yoEcvov avrots Vrrelovro.
The house to which the lovers were conveyed was destined to

play an unfortunate part in their lives.
d) 41, 17, TpaytKOV 71 Kal yOepOV . .. opvXoOV)CVo.
S2. TpaycLy8Od.
II, 25, To TWV rpay ~'8&v.
13. KW/.Lpcl.
62, 5, 6 AZodwVro . .. Xa'pe /~v~L OOL KL KWoL8a & 4W .LX

Mention has already been made of this passage above (p. 7).
I4. KCWOWLKOg.
187, 22, 9L KWOJLtKO'V K TpaYLKOi. See above, under TpaytKdO.
15. 7TPOC~rTELov.
259, 13, OY1 ,v Pap Ela &KptlELV 7o7ZrEp TO arpoofre~ta o-odo"oLEvov.

64, 23, olov rpoowrtov avTbv v7XOE (6 al8atv). 286, 7, <'errop
WpoOrW7 CTov or KOP?) Vr vr EpWtELS EVa7pvtE .
The idea in the last two passages is that of the god working
through the agency and under the disguise of a person.
z6. K crvoypUa?C0.
3 I, I I, 6p OEas, y vtrvra r a7ra E(Kr)VOypdrlA(cEV.

The word here means represented as on the stage. It is the only
case known to me in which the word has this meaning, though

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
42 J. W. I. Walden.
it is not unlikely that it occurs elsew

parallel to CrKVrq used of a speclacle, no
is 'Krcyvoypa4tK'c, following.
17. O'KYJVOypa lKC.
187, 20, CKqVOypa ctKq~ ErXqlpoiVTO Oa??tar

The people, as they looked at the scen
were filled with admiration and wonder
tators of a grand spectacle in the theatre.
I8. oKrfvoTO ta.
289, 1o, o0 Etuv Gs rT 7avrTCXl ye %i$KpovcrOl 7qrv 7rpaKT"EOV, &X"

OV YrLOT yTOYV ftE 6pOV KfLTO7TTEVaF tiaS OwV iOWV 7TftOWV KEKLV 7-
/EVOVI, Ka& p7O TV oTK)707-o7Lttav T?7, TvX?7, ;v95 778OV TE Kat EX4O V
8aKpv'ovraca.
Liddell and Scott explain the word thus: 'frequent change of
fortune, as if she was one of a nomad tribe.' crvorotta sometimes
means tent-pitching, as in Polyb. 6, 28, 3, crta 8' TE TWv 7rCwyV Kat
7rv 7rTWO)V 0KqVOOLtta raparXoLog. It seems more likely, however, in
the present case that the word refers to the fondness of rtX' for
making of the lives of mortals a theatrical spectacle. In Julian,
Or. VII, p. 216 D, the word means a theatrical display: peraT r0 /&VO3V
rKrIVo7oLodas. Cf. also 217 A. Tr'Xi plays a prominent part in all the
Greek novels ; cf. Rohde, Gr. Rom., p. 276 ff., 378', 4362, etc. Also
the &alwov. Both the &altwv and rv'7x are conceived of as the moving
agencies of 3pacjira; e.g. Hel. 69, 7, E7rpafYtE TOv T70 pd/LarT
K\a& eEpOV aOoe 6 a'/Yv, and Ach. Tat., I, 3, V7PXro 70o )~p aTros
- Irvxy. Cf. also Chariton, IV, 4, lrd / 4NLXOIKCtVO 70 x 6p~-a
'KVOpo07roV
one. It occursV"/-V
again ~W Ept7tKO.
in the . . . The
Byzantine figure was
historian probably a familiar
Theophylactus,
IV, 6, 0'pc ev r7jq datratatov rv'7X r Ta spara.I Heliodorus gives no
evidence of a fondness for military metaphors.
1 Cf. also Theod. Prod. VI, i8o; VIII, 379, 493; Plut. de Gen. Socr. 30
(Moralia, 596).

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00
19. tkX]"a?rj.
,uqXa'r is used, as elsewhere, of a sudden or unexpected event.
The passages follow:
45, Io, KaOe7TEp K K Xavi". I33, 22, KaOa7cep EK .L .XaV . 185,

18, OT7rrEp iK t .Xa"9. 2708,8, KaOa7rcp iK av . 281, 26, EK TLOS
/-Xavs. 284, 23, o0ov EK ~Xa. 301, 30, KaO r'p EK Xav
Note to Page 34.

Since this article was printed, the Classical Department of Harvard University
has received a complete set of photographs of the Vatican miniatures illustrating
the Phormio. These miniatures are reproduced in the libretto (Terenti Pkormio,
translated by M. H. Morgan, Cambridge, 1894) to the Latin play recently brought
out in Sanders Theatre, Cambridge. By the courtesy of the Department, I
am enabled to say from personal examination of the original photographs that
the article which Mme. Dacier conjectured to be a pair of flutes, is (as far at least
as the Vatican MS. is concerned) without the least doubt a torch, and not a pair
of flutes; and that the torch, as represented in the armarium, is by itself on the
lowest shelf and nearly beneath the middle of the shelf above.

136.30.4.126 on Tue, 17 Oct 2023 17:14:35 +00:00

Walden StageTermsHeliodorussAethiopica 1894

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Stage-Terms in Heliodorus's Aethiopica

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HE superiority of the Aethiopica1 of Heliodorus to the pro-

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generally metaphorically, a large numb

1 It is of course nothing unexpected to find a writer of this period referring

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the whole class of compositions to which the Aethiopica belongs.'

244, o10, Ka' 7V ToEp ~Ev 8pL, art, 7rpoavaoW'cVlS KL 7rpoctoo'S~ov 7

3"e, 4, vi3v T7)V KopWVL'Sa Kv l ,vOOrgsp t'Xaherf'ov SpaaTos.

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8pa~iux, is here helped out by Oa-riv and rpay&Kqv Tro-VqLv. The

TdavOpwrELa [3paflEVov0Ta, KaLvov TELro'd ov ET'repayoet TOT 8pwjdVOLS,

The brothers Thyamis and Petosiris are engaged in a /tovo/~aX'a

1 See, however, for the latter passage, p. 34' below.

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city direct it ro-?rep ic Orcrpov.1 The figure is continued further

d) 69, 7, ierepayow~EL CovT 7 pcLatL Kate apOV v"oO 0 S aA!ovt

The first misfortune was the death of his (Charikles's) daughter

on.2 Attention may also be called to i'7rcrpayo'L.

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f) Similar to the above is 6, 25, Xv rar TOV TEPc7rCpQLTKTd.V &XYELVWV,

g) 48, 10, W KaYW O- Ka-c KCL/_ItCVV XW 8L 9Ero7fras, KatL o'6pa 80oLKa

OtlfLV dros Lav iws yo7Tcvr-c, O8IV KOLVWoVOVTGL TO 8o paprTOs.

Thisbe has been the moving agency in an elaborate plot against

h) 172, 21, 7rX/O 7r KELLCVWoV VCKpWV OpWOJL VCoo-TcyWov, rWv puEV

7rXELOVVw IIEpo-wV EcvaL T7 (TOlX TE K7L K7OOrXtcL yVw^pL O/NCVWV, 3AXywv

Te rLvv yXOwpWV. Kal 7rdXECOV pLV CuVaL TO spcla TKOLOV.

The Spa-La here referred to is Kalasiris's narrative, which extends,

1 The other being Eustathius, XI, 23; see p. 13 below.

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of their productions. There may be a question in regard to this

starts the conversation thus: 62, 3, 0 Aldvvwo, cTircv, otEOa, 7Tep,

with stories: 137, 15, Tv "Epn pv r Aovcd a~vy tKaSLpow Ka Xdywov

1 Cf. Rohde, Gr. i om., p. 3511.

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words, Knemon is represented as sayi

(2) Achilles Tatius.'

All we have to notice here is that Sp4LaTa are tragedies rather

b) I, 3, E8ErYoCV oVV 7 7raTL YVVraLK (Ec7TpL, CC 9 8qX13 ) 0oL KaXX-

7roL7aL TOV yo Y , p.OV1 7PTo T70 8ppa/iLTos q TvXV).

c) I, 9, ~,yo 8S 7rp3s TV KXcLav KaTaXCyo /.Lo 7v T opa/La, 7T~1 E7yEVCTO,

1 I have followed in general the edition of Jacobs, 1821.

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e) VI, 3, oL Se q fl ~7l 40p~ TV~ 7 XLV a erTLvTaL, Kt.Lc UVTi0CTaL KaT

The meaning of Spadirwv is very restricted here. The word refers

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m) VI, i6, 44~ p rc, v e'v&)-o -dt2" "ovT v 8p0&4a= - cE X Aw repL-

Here 8paia seems to be almost equal to 7rpo'oWrov." The transi-

dXr4Lav; Here Spap'aros refers to the deception she is practising.

deception, as in I, 3, above (p. 8), *~oxero 70T 8SdpafLaro 7 gX.

n) Quite peculiar is I, Io, U) oLvvV KV~I0, Y VLa-T~aLV V Y aCV

The passage is part of a recipe for making love. The idea is

1 Hercher : oawVev7v. 2 Here Jacobs reads future indicative.

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Hysminias, while walking in the garden, sees a picture in which

b) V, I o, KEL 7TV vo~V Oov KaTaXaflova To 8pailATO cXaptoaE pow

The explanation of the words is this: The occasion is a meal a