^{page 268 note 1} See also Ar.Frogs 911 sqq., with scholia; scholia on Prom. 440; Eust. Comm. on Homer, Od. 23, 115, It. 24, 162.

^{page 268 note 2} Frank W. Dignan, The Idle Actor in Aeschylus, Diss., Chicago, 1905.

^{page 269 note 1} Dr.Dignan emphasizes, rather, the idea that the intrait must be general, ‘for the passage,’ he says, ‘would be pointless unless the instances mentioned were typical.’ Even admitting this, it does not in validate the argument as presented in the text.

^{page 270 note 1} See Tucker's Choephori, pp. xxxiii f.

^{page 271 note 1} In this Dr. Dignan follows Reisch:Dörpfeld u. Reisch, Das gr. Theat. S. 194.

^{page 271 note 2} Page 13 footnote: So Wilamowitz, ‘DieBiihne des Aisch.,’ Hermes, xxi. S. Reisch, op. cit, S. 199.

^{page 272 note 1} With regard to the Choephori I do not agree with Dr. Dignan when he thinks that Electra sits on the step of the altar during the parodos. That the vase paintings which represent her in this attitude do not refer to this particular scene is shown by the justipresence of Orestes in them. Tucker (op. cit. p. 14) supposes that the absence of anapaests indicates that the ode was not sung until the chorus reached the orchestra. But the parodos of the Oed. Tyr. has no anapaests: yet no one supposes, so far as I know, that in that play the chorus did not enter singing. Cf. also the Antigone. As for the Septem the arguments brought forward in support of the view that Eteocles remained on the scene during the parodos (see above) are not conclusive. It seems, therefore, hardly justi fiable to cite this as an instance of the idle actor in Aeschylus.

^{page 272 note 2} See also M. Croiset, ‘Eschyle Imitateur d'homère,’ Rev d Grecques, vii. 151.