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[German version] (Θεύδοτος; Theúdotos). Greek tragedian (TrGF I 157), victorious with the satyr play Palamedes presumably in Magnesia [2] in the 1st cent. BC (DID A 13,5). Zimmermann, Bernhard (Freiburg)

[German version] (Φαράδας; Pharádas) from Athens; was successful with a satyr play after 85 BC at the Museia in Thespiae (Boeotia) (TrGF I 173). Zimmermann, Bernhard (Freiburg)

[German version] (Σπίνθαρος; Spíntharos). Tragic poet (TrGF I 40), according to Suda σ 945 author of a Heracles burned and a ‘ Semele struck by lightning. Since Heraclides [16] Ponticus (fr. 13 Wehrli) describes him as an old man, he cannot be identical to the Phrygian S. mentioned …

[German version] (Κριτίας; Kritías) of Athens, born about 460 BC, descended from an old Attic noble family, on his mother's side he was an uncle of  Plato. Like  Alcibiades [3] he belonged to the circle around  Socrates. Politically he belonged to the antidemocratic forces: in 415 he was accused of participating in the mutilation of the  Herms, in 411 he was a member of the oligarchic council of the 400 ( Tetrakosioi). After the democratic restoration he stayed in Thessaly until 404, after the Athe…

Zimmermann, Bernhard (Freiburg) [German version] A. Antiquity and Middle Ages (CT) In contrast to Greek tragedies, where repeat performances had been officially permitted since 386 BC, there is no epigraphical evidence of any repeat performances of 'ancient' comedies prior to 339 BC. It appears, though, that not the 5th cent.-comedies, but those by contemporary authors or by poets of the immediate past, i.e. those from the periods of the Middle and New Comedy, were performed again.The Old Comedy of the 5th…

[German version] (ἡ πάροδος/ hē párodos, literally 'entrance, entry song of the chorus'). In his list of components common to all tragedies, Aristotle [6] defined parodos in his Poetics (12, 1452 b22f.) as the first chorus part, with an additional sense of 'entry song' or 'entry speech' (cf. Aristot. Eth. Nic. 1123 a23f.). However, structural analysis should not be limited to rigid, schematic definitions, but also consider the construction and development of dramatic action (σύστασις τῶν πραγμάτων, ibid.). In Attic tragedy, the parodos may open the play (Aesch. Pers. and Suppl.) or follow a prologue. In formal terms, a distinction can be made among three types: 1. A recitative by the chorus or the chorus leader in (marching) anapests is followed by a strophic chora…

[German version] (τὸ μηχάνημα, τὸ τέχνημα; tò mēchánēma, tò téchnēma). Already Hom. Od., bks. 19-24 shows the close link between recognition scenes ( Anagnorisis) and intrigue that is typical of Attic tragedy. Locus classicus is Aesch. Cho. Intrigue is missing from almost none of Euripides' plays, so that Aristoph. Thesm. 94 can rightly call him the ‘master of the intrigue play’. Euripides composes anagnṓrisis-intrigue dramas especially in his later work. After the recognition, rescue is effected by an intrigue (e.g. Eur. IT 1017ff.; Eur. Hel. 1034ff.). In Ion there is a playful …

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[German version] (ἡ κάθαρσις; hē kátharsis). Katharsis, derived from καθαίρειν ( kathaírein, purge), generally means any type of purgation and elimination of visible (dirt) and invisible uncleanliness (religious defilement: míasma, cf. Hdt. 1,35; Aristot. Poet. 17,1455b 15). In the 2nd half of the 5th cent. BC the term was used as medical term for the removal of harmful substances from the human body or soul (LSJ, s.v. κ. II). The cultic-ritual and medical-psychological meanings have merged in Aristotle's concept of katharsis, which of old has been a matter of scholarly controversy. In Aristot. Pol. 8,1341b 32ff. - a textually controversial passage - ethical, enthusiastic and practical melodies are distinguished from a didactic point of view. Aristotle thinks that ethical melodies could contribute to the education of the citizens, but the enthusiastic and practical ones could only be listened to. He grouped them under purgation (katharsis) or amusement. The enthusiastic ones transported the recipient to a s…

[German version] Greek tragedian, who enjoyed success at the Dionysia several times after 468 BC (TrGF I 11). Zimmermann, Bernhard (Freiburg)

[German version] Tragedian from the closing years of the 5th cent. BC; according to the scholia on Aristophanes he was known for his gluttony (TrGF I 30 T 1-3). Zimmermann, Bernhard (Freiburg)

[German version] (Πολυχάρης/ Polychárēs). Early 4th cent. BC poet, uncertain whether of tragedy or dithyramb (DID B 6). Zimmermann, Bernhard (Freiburg)

(Πολίτης/ Polítēs). [German version] [1] Son of Priamus Son of the Trojan king Priamus and Hecabe. During the Trojan War, he saves his wounded brother Deiphobus (Ho…

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[German version] [1] Tragedian (Τιμησίθεος; Timēsítheos). Greek tragedian, mentioned in the Suda (τ 613), not datable. According to Suda τ 613, author of 11 tragedies (TrGF I 214). Zimmermann, Bernhard (Freiburg) …

[German version] (Κλεαίνετος; Kleaínetos). Tragedian (TrGF I 84), won the 3rd place at the Lenaeans in 363 BC; mocked by  Alexis as not exacting (Fr. 268 PCG), by  Philodemus (84 T 3 TrGF I) as a worse poet than Euripides. ‘Hypsipyle’ is attested as a title. Zimmermann, Bernhard (Freiburg)

[German version] (Θεοδωρίδης; TheodōrÍdēs). Greek tragedian (TrGF I 78 A), took second place at the Athenian Lenaea in 363 BC with a Medea and a Phaethon (DID A 2b, 94). Zimmermann, Bernhard (Freiburg)

[German version] (Μόρσιμος; Mόrsimos). Son of Philocles, great-nephew of Aeschylus [1] (TrGF I 12 T 3), middle of the 5th cent. BC, oculist (TrGF I 29 T 2) and tragedian, the latter according to Aristophanes (Equ. 401, Pax 802, Ran. 151) of particularly poor quality. Zimmermann, Bernhard (Freiburg)

Zimmermann, Bernhard (Freiburg) [German version] A.Late Antiquity/ Middle Ages (CT) There is, to be sure, evidence for the existence of sporadic performances of Greek tragedies up into 4th cent. AD and plays by Plautus and Terence continued to be performed as late as the 3rd/4th. cents., but on the whole, tragedies and comedies had largely disappeared from the theatre programme of the Roman Imperial Age. The stage of that age, however, was not devoid of dramatic, sub-literary genres [5]. They included mimes, pantomimes and the fabulae cantatae, i.e. tragic isolated scenes perfor…

[German version] (Πολυφράσμων/ Polyphrásmōn). Son of Phrynichus [1], tragedian, first victory between 482 and 471 (DID A 3a, 13), successful at the Dionysia in 471  (DID A 1, 22). In 467 he is recorded as third to Aeschylus [1], who won with his Theban trilogy, and Pratinas' son Aristias [2] with his trilogy Lykourgeia (TrGF I 7). Zimmermann, Bernhard (Freiburg)

[German version] (στιχομυθία/ stichomythía). A form of dialogue in ancient drama in which two persons - or, more rarely, three -  speak in regular turns. It was first documented as a technical term in Poll. 4,113, but a description of the dramatic technique of 'dialogue intensification' [6] appears as early as in Aeschylos [1] (Eum. 585 f.). The origins of stichomythia are unknown (initiation rites: [8. 201], folk customs: [2. 95-106]). Under the general heading of the technique of stichomythia, sc…

[German version] (ἡ ῥῆσις/ hē rhêsis), generally 'speech' (Hom. Od. 21,291). As early as the 5th cent. BC, rhesis was a technical term for a speech in a play, especially in a tragedy (for the concept cf. Aristoph. Ach. 416, Nub. 1371, Vesp. 580, Ran. 151; Aristot. Poet. 1454a 31, 1456a 31). The length of a rhesis varies from c. 7 to over 100 verses (Eur. Ion 1122-1228, Phoen. 1090-1199, Bacch. 1043-1152). The most important function of rhḗseis in the context of the storyline is to supply information. The requisite details which are important for the storyline are frequen…

[German version] (Φανόστρατος; Phanóstratos) of Halicarnassus. Tragedian, probably successful at the Attic Lenaea in 306 BC. TrGF I 94 = DID B7. Zimmermann, Bernhard (Freiburg)

[German version] (Νεόφρων; Neóphrōn) of Sicyon. Tragedian, 2nd half of 5th cent. BC; according to the Suda (TrGF I 15 T 1) the author of 120 plays, and the first to depict tutors and the torture of slaves on the stage. According to the hypothesis of Euripides' [1] ‘Medea arising from the Peripatetic tradition, the Euripidean drama is said to have derived from N. The 24 surviving verses show clear concordances with Euripides (e…

[German version] (τὸ στάσιμον /tò stásimon; derived from the adjective stásimos, 'standing'). In the list of structural forms (μέρη/ mérē) of the tragedy (I.), Aristotle (Poet. 1452b 22-24) distinguishes - among the chorus parts - the párodos from the stasima, which he defines as chorus songs that have no anapest or trochee, thus no recited verses, which are used primarily in the parodos [1]. The term stasimon must not be understood in the sense that the chorus was 'standing' while it sang the song, rather that the chorus performed i…

[German version] (ἡ τριλογία/ hē trilogía). From Hellenistic philology onwards a term for three tragedies, without the concluding satyr play, performed during the Great Dionysia at Athens (cf. Schol. Aristoph. Ran. 1124) [1. 80]. Tetralogy; Tragedy I. Zimmermann, Bernhard (Freiburg) Bibliography 1 Pickard-Cambridge/Gould/Lewis.

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[German version] (Σωσίθεος/ Sōsítheos) from Alexandria [2] in the Troad, Satyr playwright and tragedian of the Pleias, first half of the 3rd century BC (TrGF I 99). According to the Suda (σ 860) he is also supposed to have written poetry and prose (T 1). In a fictitious burial epigram Dioscurides [3] (Anth. Pal. 7,707 = T 2) praises him as a reviver of the satyr play, taking his direction from Pratinas. 24 verses survive from …

[German version] (also anagnorismos: ἡ ἀναγνώρισις, ὁ ἀναγνωρισμός; hē anagnṓrisis, ho anagnōrismós). According to Aristot. Poet. 11,1452a-b, anagnorisis is the technical term for the ‘Recognition’ in drama. Aristotle defined anagnorisis as a transition from unknowing into knowing, with the effect that friendship is changed into enmity and vice versa. To him, that anagnorisis is the most dramatic, which occurs simultaneously with   peripeteia . Aristotle differentiated three varieties of anagnorisis with reference to the object: the recognition of persons, of inanimate objects and of the fact, whether one has or has not done something (e.g., Soph. Oid. T. 1167 ff., Trach. 663 ff.; Eur. HF 1088 ff.; parodic in Aristoph. Vesp. 741 ff.). The best anagnorisis is that of people, because this in connection with peripeteia invokes compassion (ἔλεος; éleos) and fear (φόβος; phóbos) in the spectator. With the anagnorisis of people, Aristotle differentiates two cases: the anagnorisis refers to either one person…

[German version] (Φιλοξενίδης; Philoxenídēs) from Oropos, writer of satyr plays; after 85 BC he achieved success at the Amphiaraea and Romaea festivals in Oropus (TrGF I 170). Zimmermann, Bernhard (Freiburg)

[German version] ‘Soliloquy’ (the term ‘monologue’ is not of ancient origin; it was only Augustinus who coined the term soliloquium, cf. Aug. retract. 1,4,1), special form of speech ( rhḗsis ) found in various literary genres. In distinguishing monologue in its proper sense from other forms of rhḗseis, such as a messenger's report (messenger scenes), the criterion should not be the length of the monologue, but o…

[German version] (Ζωτίων; Zōtíōn) from Ephesus. Only the name of this Greek tragic poet from the middle of the 2nd cent. BC is recorded (TrGF I 133). Zimmermann, Bernhard (Freiburg)

[German version] (ἡ περιπέτεια/ hē peripéteia). Literally 'turn-about, reversal' of a situation, mostly of fate, often unexpected and as a rule from good to bad (e.g. Aristot. Rhet. 1371b 10). The concept is central to Aristotle's Poetics (Poet. 11,1452a 22-29), where P. is defined as the reversal of what was to be achieved into its opp…

[German version] (ὁ διθύραμβος; dithýrambos). Choral song in honour of  Dionysus. The origin and meaning of this term has caused much speculation since ancient times. The word itself is certainly not a Greek, perhaps a Phrygian composition; most likely from a combination of íambos (ἴαμβος; two-step) and thríambos (θρίαμβος; three-step) [1]. In a contested passage of his Poetics (Aristot. Poet. 4,1449a 10-13) Aristotle makes the dithyramb the harbinger of tragedy ─ or, say others [2], of comedy. Three phases can be distinguished in the history of the genre: the pre-litera…

[German version] (ἡ τετραλογία/ hē tetralogía). Originally a technical term in rhetoric to describe four speeches treating the same case from different perspectives (Antiphon [4] A.), later also used to summarize the Platonic dialogues in groups of four (Diog. Laert. 3,57; Plato [1] C. 1. - 2.). Since the Hellenistic era, philology has used the term primarily for four theatre pieces connected by content: three tragedies (Trilogy) and one satyr play [2. 80 f.]. The 'originator' of the tetralogy was probably Aeschylus [1]; his …

[German version] (μονῳδία; m onōidía). Monody and the verb μονῳδεῖν ( monōideîn) are found already in the 5th century BC as technical terms used to describe solo arias by actors in drama (Aristoph. Pax 1012; Aristoph. Thesm. 1077; Aristoph. Ran. 849; 944; 1330). Occasionally they are equated with Threnos, as a notable component of the arias, the complaint (see Aristoph. Vesp. 317-323), was transferred to the whole structural element, as is also the case with antiphonal songs (Kommos [2], Amoibaion). M. are the musical high points in the tragedies of Euripides [1] in particular. According to their function, a distinction may be made between monodies in the Parodos, in which a given character is introduced with a lyrical section (Eur. Andr. 103-116; Hec. 59-97; Tro. 98-152; El. 112-166; Hel. 164-178; Ion 82-183; Soph. El. 86-120; Aeschyl. Prom. 88-127; Aristoph. Av. 227-262), and monodies which follow the dramatic high points, especially the catastrophe (Peripeteia), to which an actor reacts with an aria (esp. Eur. Or. 1369-1502). The monody as a solo is highly suitable …

[German version] This item can be found on the following maps: Theatre | Lycii, Lycia | Education / Culture (Ἀντίφελλος; Antíphellos). Lycian harbour town, modern Kas̨;…

[German version] Generally antiphonal singing (Theoc. 8,31), also dialogue in tragedy (Pl. Resp. 394b), today terminologically established as antiphonal singing in the drama. In the listing of the components of the tragedy in ‘Poetics’ (12,1452b 22) Aristotle differentiates songs for the stage (τὰ ἀπὸ τῆς σκηνῆς) and kommoi as special cases. Whereas in the first instance only the actors are involved (monodies, duets), with the kommoi the collaboration of actors and chorus is decisive. As, however, not all antiphonal singing between choir and actor(s) can be d…

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[German version] (τὸ ἐπεισόδιον; tó epeisódion, from the adjective ἐπεισόδιος; epeisódios, ‘inserted’). According to Aristot. Poet. 12,1452b 20f. part of a tragedy between two entire chorus parts (that is between the  parodos and the first   …

[German version] (Πρατίνας/ Pratínas) of Phlius (in the Peloponnese), according to the Suda π 2230 (TrGF I 4 T 1) the inventor of the satyr play; son of a Pyrrhonides or Encomius (descriptive names: son of a 'red-head' or of 'a member of a - Dionysian - komos'; on the red hair and beards of satyrs cf. Dioscorides, Anth. Pal. 7,707,3 and  Soph. Ichn. 358). Two dates are attested for his life: between 499 and 496 he entered a tragedic agon against Aeschylus [1] and Choerilus [2] (T 1); and 467 is a  terminus ante quem for his death: that year his son Aristias [2] entered with plays by P. ('…

[German version] (Νόθιππος; Nóthippos). Athenian tragedian (TrGF I 26), mentioned by the comic poet Hermippus in his Moîrai (prob. performed 430 BC) (Fr. 46 PCG). Zimmermann, Bernhard (Freiburg)

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(σατυρικὸν δρᾶμα, satyrikòn drâma). [German version] A. Origins As in the case of Greek tragedy, the debate on the origins of the SP also starts with an observation in Aristotle's Poetics. According to Aristot. Poet. 1449a 19 ff., tragedy had initially dealt with minor topics in a humorous language and only later acquired its appropriate solemnity, because it had developed from the satyresque (ἐκ σατυρικοῦ, ek satyrikoû) and its original nature had been more that of a dance (ὀρχηστικωτέρα, orchēstikōtéra). Aristotle thus did not claim in any way that tragedy had developed…

(ὁ πρόλογος/ ho prólogos, Lat. prologus, prologium). [German version] A. Concept In his list of the individual elements (μέρη/ mérē) of tragedy in the 'Poetics', Aristotle defines the prologue as a complete section of a tragedy preceding the chorus' párodos (Aristot. Poet. 13,1452b 22 f.) [9. 471 f.]. However, the term prólogos was already in use in the technical sense before Aristotle: in 'The Frogs', Aristo…

[German version] Derived from the verb δρᾶν ( drân), predominantly attested in Attic, the noun δρᾶμα ( drâma; ‘action’, ‘deed’ in a general sense) is the antonym of ‘what is experienced’ (πάθος/ páthos) (Aesch. Ag. 533); it can also mean ‘duty’, ‘task’ (Pl. Tht. 150a, Resp. 451c ). For the most part, though, drama is a technical term meaning ‘theatrical play’ (tragedy, comedy, satyr play) in the context of its performance (Aristoph. Ran. 920); it appears in the plural form in the title of Aristophanes' play Δράματα ἢ Νίοβος ( Drā́mata ē Níobos; fr. 289-298 PCG III2; fr. 299-304 PCG III2), in T…

[German version] of Olynthus (TrGF 1, 118; FGrH 74), end of the 4th, beginning of the 3rd cent. BC; according to Diog. Laert. 2,110 teacher of  Antigonus [2] Gonatas, to whom he dedicated a work ‘On the Rule of Kings’ (Περὶ βασιλείας; Perì basileías). Writer of a history of the Diadochi period and of several successful tragedies. Zimmermann, Bernhard (Freiburg)

Zimmermann, Bernhard (Freiburg) [German version] A. Antiquity and Middle Ages (CT) The following article is only concerned with the performance of plays by the three main Greek tragedians and the various tendencies of their productions in modern times. It is not possible in this context to deal with adaptations, new arrangements or reworkings, nor with the reception of Greek tragedy as a whole in the history of European cultural and intellectual history. The seminal year marking a decisive change in the practice of performing dramatic plays in Athens was 386 BC, bec…

(Εὐριπίδης / Euripídēs) [German version] [1] Tragedian The Attic Tragedian. Zimmermann, Bernhard (Freiburg)…

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[German version] (Πυθάγγελος; Pythángelos). Tragedian of the 5th cent. BC, mentioned only in Aristoph. Ran. 87. Zimmermann, Bernhard (Freiburg)

[German version] (Greek Σίνις/Sínis, robber). One of the scoundrels who are killed by Theseus in their own vicious manner ( e.g. Bacchyl. 18,19-22): S., a son of Poseidon with the cognomen Pityokámptēs ('spruce bender'), is a brigand on the Corinthian Isthmus who ties the arms and legs of travellers to spruce trees that he bent down before. When he lets the trees shoot up, the victims are torn apart. He dies in the same fashion following the principle of Talion Law. Zimmermann, Bernhard (Freiburg)

[German version] Longer rhesis in drama, in which other characters or the chorus are informed, either behind or off scene, of events that have taken place before or during the dramatic action and that could not represented on stage either because of the means or the conventions of Attic drama. These reports, furnished with all available rhetorical means, are usually presented by a main or a supporting figure (Eur. Heraclid. 389ff; Soph. El. 680ff.), but often by a nameless messenger specifically introduced for this purpose (ἄγγελοι/ ángeloi or ἔξαγγελοι/ éxangeloi, if the message comes from inside the house; more rarely a κῆρυξ/ Kêryx [Aischyl. Ag. 503ff, in a ritual context Aristoph. Av. 1271ff]). In Aeschylus' tragedies, messenger scenes (MS) primarily occur in the overall context of the plot at points where certainty follows a slowly built-up uneasy expectation: Pers. 302ff. (defeat of the Persian army), Sept. 375ff. (report of the spy, seven pairs of speeches), Supp. 605ff. (Danaos' re…

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(ὑπόθεσις; hypóthesis). Introduction, summary. [German version] A. History of literature Three types can be distinguished in tragedy: 1. The hypothéseis of  Aristophanes [4] of Byzantium found in the Peripatetic tradition ( Dicaearchus fr. 78 Wehrli); they contain a brief summary, point to the treatment of the same material by another tragedian, name the setting, the identity of the chorus and the speaker of the prologue and give further information on the play's performance (dating, title of t…

[German version] (Πέρδιξ/ Pérdix , also called Talus or Calus), great-grandson of Erechtheus, nephew of  Daedalus [1], whose skill he surpassed - he is considered the inventor of, among other things, the saw and the compass (Ov. Met. 8,246ff.; Hyg. Fab. 39; Verg. G. 1,143) - and who therefore threw him to his death from the Acropolis  (Soph. fr. 323 TrGF; Hyg. Hab. 39). In Ov. Met. 8,251-253 P. is rescued by Athena, who turns him into a partridge ( …

(αἱ διδασκαλίαι; hai didaskalíai). [German version] I. Greek Derived from the verb διδάσκειν, the singular didaskalía has the general meaning of ‘teaching’, ‘instruction’ (Pind. Pyth. 4,102; Xen. Cyr. 8,7,24) and in a special sense of ‘choral training’ (Pl. Grg. 501e); in the plural it is a technical term for lists of dramatic and choral productions with associated details: year of performance (archon), poet, title, festival, choregos, actors. The entries were made in the archive of the authority responsible for…

[German version] (Θέσπις; Théspis) from Icarium [1] in the Attic deme of Icaria [1. 49], according to one tradition attested on the  Marmor Parium (43) the ‘inventor’ ( prôtos heuretḗs ) of tragedy (TrGF I 1 T 2), according to another (Suda θ 282 = T 1) the sixteenth or second tragedian after Epigenes [0] of Sicyon. Between 535/4 and 532/1, he is supposed to have presen…

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[German version] (ἡ χορηγία; hē chorēgía). Office of the choregos; from c. 500 BC a special form of   leitourgia in Athens. The choregia was imposed on prosperous citizens by the appropriate …

(Σωσιφάνης; Sōsiphánēs). [German version] [1] Tragedian, died 336/333 or 324/321 BC S. of Syracuse, tragedian (TrGF I 92)…

[German version] (Φίλικος; Phílikos) o…

I. Greek [German version] A. Definition, origin, early forms The explanations for the term τραγῳδία ( tragōidía) are controversial; equally controversial is the reconstruction of the genesis of tragedy from cult rituals over pre-literary choral performances to the literary genre of the 5th cent. BC. The greatest problem is to reconcile Aristotle's [6] brief history of the genre in the Poetics (Aristot. Poet. 4,1449a 9-31) with anthropological and ethnological considerations. Aristotle thought the literary form evolved gradually from short myths (plots) a…

[German version] [1] Tragedian of the 4th cent. BC (Μάμερκος/ Mámerkos). Tragedian of the 4th cent. BC mentioned in Plut. Timoleon 31,1 (TrGF I 87). Zimmermann, Bernhard (Freiburg) [German version] [2] Praenomen Praenomen exclusively used by the Patrician gens of the Aemilii (also used there as a cognomen, but never for freedmen); shortened to Mam.; Greek Μάμερκος/ Mámerkos. First attested for the father of Aemilius [I 25], traced back to M., son of Numa Pompilius (Plut. Numa 8,18f.). The name also occurs in Oscan (Μαμερεκς/ Mamereks) and in Etruscan ( Mamarce, Mamerce, Mamurke, 7th-5t…

(Φαίνιππος; Phaínippos). [German version] [1] Attic landowner, around 320 BC The country estate of P., son of Callippus, is described in an Attic court speech around 320 BC (Ps.-Dem. Or. 42). In the antídosis proceedings the plaintiff demands that P. should be placed on the list of the three hundred richest Athenian citizens, who bore the heaviest burden of the financial cost of liturgies ( ibidem 42,3f.), instead of himself. P.’ property was unusual for two reasons: on the one hand, P. was the only heir of his father and, at the same time, of his grandfather on h…

(Ἰοφῶν; Iophôn) [German version] [1] Son of Peisistratus from his second marriage Son of  Peisistratus from his second marriage to the Argive Timonassa, the daughter of Gorgilus and widow of the  Cypselid Archinus of Ambracia. In contrast to his brother  Hegesistratus [1], only I.'s name has survived ([Aristot.] Ath. pol. 17,3; Plut. Cato maior 24,8; Hdt. 5,94f.). Patzek, Barbara (Wiesbaden) Bibliography L. de Libero, Die Archaische Tyrannis, 1996, 88 Traill, PA…

(Φάνης; Phánēs). [German version] [1] Primordial god of the Orphic cosmogony In Greek, 'the one who illuminates, enlightens, appears; the one who is (makes something) obvious' (OF frr. 56; 61; 109); the light-like (Nonnus, Dion. 9,141) and golden-winged (OF frr. 54; 78; 87,2) primordial god of the Orphic cosmogony (OF fr. 78; 86; World, creation of the). This cosmogony, recorded by a certain Hieronymus and Hellanicus (OF fr. 54), must be distinguished from that in the Hieroì Lógoi, an Orphic poem in 14 rhapsodies (OF testimonia 174; 196). P. was not the original name of …

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(Ἀγάθων; Agáthōn). [German version] [1] Attic tragedian Attic tragedian, c. 455- c. 401 BC, son of Tisamenus (Schol. Lucian. Rhetorum Praeceptor 11). According to Ath. 5,217b he achieved his first Lenaean victory in 416. The post-victory celebration of this win forms the historical background to Plato's Symposium. In 411 he is made fun of in the Thesmophoriazusae of Aristophanes, and in the same year he is defended in court by Antiphon [4]. Like Euripides, he left Athens before 405 (cf. Aristoph. Ran. 83-5, Ael. VH 13,4) and made his way to the court…

(Τιμοκλῆς/ Timoklês). [German version] [1] Athenian author of comedies, 2nd half of the 4th cent. BC Important Athenian author of comedies in the 2nd half of the 4th cent. BC to whom the Suda [1 test. 1] attributes 20 plays (divided into tw…

(Ἁρμόδιος; Harmódios). [German version] [1] Harmodius of Athens Tyrantmurderer, 514 BC conspired with  Aristogiton [1] and others in order to murder the tyrants  Hippias [1] and  Hipparchus [1] during the Panathenaea in 514 BC. However, they only managed to kill Hipparchus. H. was also killed during this assassination attempt (Hdt. 5,55-58; Thuc. 1,20; 6,54-59;…

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Common Roman praenomen , abbreviated by the siglum P.; earliest evidence Poplio- (CIL I2 4, 2832a; c. 500 BC; Lapis Satricanus), thereafter Greek Πόπλιος ( Póplios). The name is etymologically linked to populus (‘army’ > ‘people’). A derivation from Etruscan must be rejected since the rare Etruscan word …

(Σοφοκλῆς/ Sophoklês). [German version] [1] Attic tragedian, 5th cent. BC The 5th cent. BC Attic tragedian Zimmermann, Bernhard (Freiburg) [German version] A. Life Attischer Tragiker des 5. Jh. v. Chr. The most important records are the vita which has survived in several manuscripts and the Suda (σ 815); the complete testimonies have been collected in TrGF, vol. 4. S. was born in 497/6 BC as the son of Sophilus from the Attic deme of Colonus. In 480 he is said to have intoned the paean at the victory celebrations after the b…

(Μέλητος; Mélētos). [German version] [1] Athenian, c. 415 B.C. Athenian. In the year 415 BC he was denounced for having participated in the profanation of the mysteries and the mutilation of the Herms ( Herms, mutilation of the). He fled from Attica and was condemned to death in absentia (And. 1,12f.; 35; 63). Possibly the same as M., the great-grandson of the Alcmaeonid Megacles [4] (IG II2 1579,19). Schmitz, Winfried (Bielefeld) Bibliography PA 9825 …

(Πολεμαῖος/ Polemaîos). [German version] [1] Macedonian commander, c. 300 BC (also called Ptolemaeus and Polemon in MSS, but correctly P ., IG II2 469 and IK 28,2). Son of one P., Macedonian, nephew of Antigonus [1]. P. was probably already an officer in the Macedonian army under Alexander [4] the Great, possibly sōmatophýlax (Court titles B) of Philippus Arridaeus [4] (Arr. Succ. 1,38). In 319, he went to Eumenes [1] as a hostage of Antigonus (Plut. Eumenes 10); in 314 he was sent as general to Cappadocia and to secure the Hellespont (Diod. Sic. 19,57,4; 60,2 f.), meanwhile marrying the daughter of Dionysius [5]. …

(Σθένελος/ Sthénelos). [German version] [1] Son of Actor Son of Actor, takes part in Heracles' [1] campaign against the Amazons, during which he is killed on the Paphlagonian coast. There S. appears in full armour to the passing Argonauts, who, prompted by Mopsus, sacrifice to him (Apoll. Rhod. 2,911-927 with schol.; Promathidas FGrH 430 F 4-5; Val. Fl. 5,87-100). Eiben, Susanne (Kiel) [German version] [2] Son of Androgeos Son of Androgeos, grandson of Minos. S. and his brother Alcaeus are taken hostage together by Heracles [1] on Paros because they were respons…

[German version] A. Function, architecture, development Derived from the ancient local name of the underground Christian burial complex S. Sebastiano ( coemeterium catacumbas from Greek katà kýmbas, ‘near the hollows’) by the via Appia near Rome, the underground  necropoleis, rediscovered in Rome since the 16th cent., were also called catacombs instead of coemeterium or crypta. As differentiated from smaller, private   hypogaea , catacombs in modern research are understood to be larger community cemeteries using suitable geological layers (e.g. tuff) for burial in underground tunnel systems. Today, the associated aboveground burial districts have often disappeared. Apart from the c. 70 sites in Rome, there is further e…

(Αἰσχύλος; Aischúlos). [German version] [1] of Athens Tragedian, 5th cent. BC Tragedian. Zimmermann, Bernhard (Freiburg) [German version] A. Biography The most important sources of A.'s biography (cited according to TrGF III) are the Vita, the Marmor Parium, and the Suda (s. v. Αἰσχύλος [Aischýlos], αι 357 Adler): born in 525/4 BC in Eleusis (T 1,1; 8; 98,3), son of Euphorion (T 1,1 f.; 2,1; 162,1), from t…

(Κλεοφῶν; Kleophôn). [German version] [1] Athenian demagogue in the period after 411 BC Athenian demagogue in the period after 411 BC, lyre-maker, apparently not very wealthy (Lys. 19.48). In 410 C. introduced the   diobelía , a maintenance payment to needy citizens ([Aristot.] Ath. Pol. 28,3). According to Diodorus (13,53,2) he brought about in 410/409, according to [Aristot.] Ath. Pol. 34,1 in 406/5, the rejection of peace negotiations with Sparta, though these could have been duplicates of his measures in…

(Σωσίστρατος/ Sōsístratos). [German version] [1] Oligarch in Syracuse, second half of the 4th cent. BC From c. 330 BC leader with Heraclides of the Oligarchy of the Six Hundred in Syracusae. Although he was suspected by Agathocles [2] of aspirations to tyranny, his successes in the war of Croton with the Bruttii confirmed his position in Syracuse (Diod. 19,3,3-5). After a military failure against Rhegium he was banished from Syracuse c. 322 (Diod. 19,4,3), but he and his followers were able to return under Acestoridas; after Agathocles seized power in 316/5, howe…

(Καρκίνος; Karkínos). [German version] [1] Cancer, the crab that was turned into a sign of the zodiac for biting Heracles in the foot at the behest of Hera while fighting the Hydra (Eratosth. Katasterismoi 11). The Alexandrian month of Karkinon (Καρκινών) was named after it. Walde, Christine (Basle) [German version] [2] Epic poet C. of Naupactus, epic poet of the archaic period. In Paus. 10,38,11 C. is named, with reference to Charon of Lampsacus, as the author of the Ναυπάκτια ἔπη ( Naupáktia épē), evidently a history of this town, lying at the entrance to the Corinthian Gulf…

I. Cartography [German version] A. Definition In the following, ‘maps’ are defined as graphic representations with the purpose of easing the understanding of spatial-geographical concepts. The extent to which Greeks and Roman produced and used maps has been the subject of controversy in recent times, not least, because it touches on the wider question of how far we can safely assume that our own cultural attitudes and expectations were shared by classical antiquity. Talbert, Richard (Chapel Hill, NC) [German version] B. The concept of maps It is obvious that antiquity had no con…

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(Θρασυκλῆς/ Thrasyklês). [German version] [1] Representative of Athens in the Peace of Nicias, 2nd half of the 5th cent. BC Athenian, who in 421/0 BC requested the …

(Τιμόστρατος/ Timóstratos). [German version] [1] Tragic poet, 4th cent. BC Greek tragedian, successful at the Lenaea in c. 350 BC (TrGF I 83). Zimmermann, Bernhard (Freiburg) [German version] [2] Athenian comedy writer, beginning of the 2nd cent. BC Athenian comedian, who came sixth at the Dionysia in 188 BC with his Λυτρούμενος ( Lytroúmenos, 'The ransomed [prisoner]') [1. test. 1] and fourth in 183 with his Φιλοικεῖος ( Philoikeîos, 'He who loves his relatives') [1. test. 2]; a third place in c. 177 with an Ἀντευεργετῶν ( Anteuergetṓn, 'He who repays good deeds') is uncertain [1…

(Μελίτων; Melítōn). [German version] [1] Author of a text called "On the Clans in Athens" M. from Athens (?). According to fr. 1 (= Harpocr. s.v. κάθετος) author of a text called …

(Κλειτός, Κλεῖτος, Κλῖτος; Kleitós, Kleîtos, Klîtos, ‘The Famous One’). [German version] [1] Nephew of the seer Melampus Nephew of the famous seer  Melampus, son of Mantius, father of Coeranus. He was abducted by Eos because of his beauty (Hom. Od. 15,249f.; Pherecydes FGrH 3 F 115a). Michel, Raphael (Basle) [German version] [2] Great nephew of C. [1] …

[German version] I. Definition Psalmody (Greek ψαλμῳδία/ psalmōidía; Latin psalmodia) is the singing of psalms; in medieval Latin, it is a technical term for a particular psalm tone (a recita…

(Μόσχος; Mόschos). [German version] [1] From Elis, pupil of Phaidon M. from Elis, with Anchipylus a pupil (or pupil of a pupil) of Phaedon of Elis and teacher of Asclepiades [3] of Phleius and Menedemus [5] of Eretria. According to an ancient piece of gossip M. and Anchipylus are supposed to have subsisted only on water and figs their whole lives (Diog. Laert. 2,126; Athen. 2,44c). M. is presumably identical with the homonymous person whose name is the title of a dialogue by Stilpon (Diog. Laert. 2,120). Döring, Klaus (Bamberg) Bibliography SSR III E. [German version] [2] M. from Lampsacus…

(Σιληνός; Silēnós). [German version] [1] S. from Caleacte Greek historian, 2nd cent. BC Greek historian, like Sosylus in the retinue of Hannibal [4], 'as long as fate allowed it' (FGrH 175 T 2 in Nep. Hann. 13,3). Author of an 'official' history of Hannibal (F 1-2) and of Sikeliká in 4 books (F 3-9). S. was used by Coelius [I 1] Antipater (F 2); perhaps Polybius's criticism (3,47,6-48,12) of 'a number of' Hannibal historians concerning Hannibal's crossing the Alps is aimed at S., in whose work dreams, omens etc. play an important role (F 2). …

(Μοσχίων/ Moschíōn). [German version] [1] Tragedian, 3rd cent. BC Athenian tragedian, probably 2nd half of 3rd cent. BC, known almost solely through quotations by Stobaeus. Titles attested include ‘Telephos and two historical dramas: ‘Themistokles, at the heart of which was probably the naval battle at Salamis, following on from Aeschylus' ‘Persians, with the distinction that M. made Themistocles the protagonist; and ‘The Pheraeans, probably dealing with the death of Alexander [15] of Pherae. A lengthy f…

(Θεσσαλός/ Thessalós). [German version] [1] Eponym of the Greek territory of Thessaly Eponym of the Greek territory of Thessaly (Thessalians, Thessalia; Plin. HN 4,28), son of Haemon [1] (Rhianus FGrH 265 F 30), of the Heraclid Aeatus (Charax FGrH 103 F 6) or of Iason [1] and Medea (Diod. Sic. 4,54 f.). Binder, Carsten (Kiel) [German version] [2] Of Athens, son of Peisistratus [4] Athenian, son of Peisistratus [4]. Not named in Herodotus, T. first appears in Thucydides (1,20,2; 6,55,1) as a childless full brother of Hippias [1] and Hipparchus [1] from t…

(Φρύνιχος/ Phrýnichos). [German version] [1] P. from Athens Tragedian, around 500 BC Tragedian. According to Suda φ 762 (TrGF I 3 T 1) he achieved his first victory in 511/508 BC and died on Sicily (T 6). He is said to have been the first person to bring female roles to the stage and to have 'invented' the trochaic tetrameter (T 1), which probably means that he introduced the metre into the tragic genre. He was famous on accoun…

(Ἐπιγένης; Epigénēs). [German version] [0] Of Sicyon, Greek tragedian, 6th cent. BC E. of  Sicyon. According to the Suda s. v.  Thespis (θ 282 = TrGF I 1 T 1), the first tragedian (6th cent. BC). The audience supposedly reacted to the lack of Dionysiac content in his plays with the proverbial exclamation οὐδὲν πρὸς τὸν Διόνυσον ( …

(Σεραπίων; Serapíōn). [German version] [1] S. of Antioch Mathematical geographer, 1st cent. BC Mathematical geographer to whom Plin. HN 1,2 referred to as gnomonicus ('measurer of shadows'). In 59 BC, Cicero (who was his contemporary) received S.'s geographical treatise from Atticus as the newest source for his planned Geographica but was hardly able to understand the content (Cic. Att. 2,4,1). In the treatise, Cicero encountered S.'s fierce criticism of Eratosthenes [2] (ibid. 2,6,1). S. estimated the circumference of the sun …

(Πατροκλῆς; Patroklês). [German version] [1] Athenian office holder, end of the 5th cent. BC Athenian, árchōn basileús in (404/)403 BC; a relative of Isocrates, who defended him (Isoc. Or. 18,5). Kinzl, Konrad (Peterborough) …

[German version] [1] Legal action An action, especially a legal action (Dig. 49,1,12) i. a. defining characteristic of   alienatio : omnis a., per quem dominium transfertur…

(Λυκόφρων; Lykóphrōn). [German version] [1] Younger son of Periander of Corinth The younger son of Periander of Corinth and Melissa, daughter of Procles of Epidaurus. In the war between Periander and his father-in-law, L. is sent to Cercyra and murdered there by the Cercyraeans, who presumably considered him a tyrant and successor of Periander. Legend-building in an early phase can be seen in Herodotus (3,50-53; cf. Diog. Laert. 1,94f.; Nicolaus of Damascus FGrH 90 F 60). Patzek, Barbara (Wiesbaden) [German version] [2] Founder of the tyrannis in Pherai, c. 404/390 BC Founder of the t…

(Ἴων; Íōn). [German version] [1] Hero of the Ionians Eponymous hero of the Ionians ( Iones). Several traditions of his ancestry emphasizing Athens' political primacy are extant. The earliest and most influential versions present I. as the son of  Xuthus and Creusa, thus as the grandson of  Hellen, progenitor of the Hellenes, and of the Athenian king  Erechtheus (Str. 8,383; Paus. 7,1,2). I.'s brother is Achaeus [1], progenitor of the Achaeans, his paternal uncles are  …