when they open and Lysistrata appears at 430. The following scene is full of movement.1 Three women appear from the Acropolis one after the other at 439, 443, 447, to the aid of Lysistrata and of one another. When the policemen charge in a body, other women come pouring out of the Acropolis (456) and there is a general mêlée, in which, however, the semichoruses take no part. The Magistrate and policemen are worsted and fall back. The semichorus of men address the Magistrate, the semichorus of women answer, both in iambic rhythm, and then the men execute a short orchestic movement (476–483). The dialogue between Lysistrata and the Magistrate follows. The grouping is effective. At right of centre stand Lysistrata and the women, at left of centre the Magistrate and policemen. The semichoruses are grouped in front of these at each side as interested spectators of the action, of which the audience also have a clear view. The dialogue is broken (541-548) by a short orchestic movement of the semichorus of women, corresponding to the dance of the men mentioned above. Each half of the dialogue practically ends with an anapaestic system (531 ff., 598 ff.). During the first the Magistrate receives a wimple and instruments for spinning; during the second he is equipped with the habiliments of a corpse. The scene finally ends at 613. The Magistrate and policemen retire at the right, Lysistrata and the women within the Acropolis. The semichoruses bring forward the substitute for the parabasis. Lysistrata enters from the Acropolis at 706, followed later by three women, who enter respectively at 727, 735, 742.2 The four retire within the Acropolis at 780. After antistrophic songs by the semichoruses, Lysistrata appears at 829 on the Acropolis wall; that is, on the top of the proscenium. She is immediately joined by Myrrhina and other women (830). Cinesias is seen at the same time to be approaching at the left below, with a child, and attended. The other women retire from view at 844, and a dialogue ensues between Lysistrata and Cinesias. Lysistrata leaves the wall at 864, where Myrrhina appears at 872. She leaves the wall at 884, and enters through the main scene at 889. The attendant goes off with the 1 See p. 191 f. 2 Verses 760, 761 should be assigned to the First Woman. child at 908. Myrrhina goes within the Acropolis at 918, 924, 927, 935, 939, 945, returning immediately after each exit at 920, 925, 929, 937, 941, 947 respectively. She makes her exit for good at 951. Cinesias retires at the left at 979. The herald from Sparta enters at the left at 980, the Athenian magistrate at the right at 982. Each retires as he came in, the magistrate at 1012, the herald at 1013. The men and women of the chorus are finally reconciled in a humorous scene full of comic action, ending in a joint dance. Envoys from Sparta enter at the left at 1073, Athenian ambassadors at the right at 1082. Lysistrata enters from the Acropolis at 1107, with a 'muta persona' who represents Reconciliation. All go within the Acropolis at 1188. The united chorus execute a dance which repeats the movement of 1043-1072. The servant enters from the Acropolis at 1216,1 and one of the Athenian banqueters at 1225. The Laconian and Athenian supplementary semichoruses with Lysistrata appear at 1242. The original chorus is grouped on both sides of the entrance. After the dance movements in which each supplementary semichorus shows its skill, all retire, the Laconians at the left, the Athenians at the right. 1 See p. 196 ff. GENERAL INDEX. Actors, on level w. chorus, 173 ff. familiar dialogue w. chorus, 192 ff. Andocides, some constructions in, 57 ff. avtiλéyw, constr. in Andoc., 68. άτodelкvvμ, constr. in Andoc., 65, 68. ȧropaívw, constr. in Andoc., 65. Appearing, vbs. of, in Andoc., 65. 849 explained, 55. Eccl., close of, 169 f. chorus and actors in, 199 f. Equit. 413 explained, 53. close of, 184. Barbers, Greek and Roman, 41 ff. implements of, 51 ff. calamistrum, 52. Cavio, Faliscan for Gaius, 78. Chorus, not in rank and file, 198 ff. Xph, constr. in Andoc., 57. Croton, history of, 7. Crypta Neapolitana, 15, 29. Cumae, not Trimalchio's city, 31 ff. Curling irons, 52. deî, constr. in Andoc., 57. dλos, constr. in Andoc., 65. Diaeresis of Latin words in Greek, 77. diapépei, constr. in Andoc., 60. diddoκw, constr. in Andoc., 68. dikalov, w. inf. in Andoc., 61. distegia, in Greek theatre, 187. Dörpfeld, on Greek theatre, 161, 202. dokéw, constr. in Andoc., 61, 64, 65. elpnual, constr. in Andoc., 66. Aéyxw, constr. in Andoc., 66, 67, 68. Macrob. Sat. (iii, 15, 10), 83. Távаykes, constr. in Andoc., 58. HALEY, H. W., Quaestiones Petronianae, Hearing, vbs. of, in Andoc., 67. evρíoκw, constr. in Andoc., 64, 65. Fáïos (Faîos) in Greek inscr., 72 f., 76 f., Jannelli, Cataldus, 35 ff. 83 ff. Γάϊος Δάζουπος Ρέννιος, 86. Gaius, vocative of, 75. Gajus or Gaïus, 71 ff. Gentile names, two, 81 f. yiyvσкw, constr. in Andoc., 65, 67. yváμn, with as in Andoc., 68. Topylvios, adjective, 90 f. Julian's barber, 41. καλαμίς, 52. Kantharos, 93, 95. yevóμevov éø'vμîv, w. inf. in And., 59. | kataßalve‹ in theatr. parlance, 164 ff. кaтаλαμßáνw, constr. in Andoc., 65. Kaтapavhs, constr. in Andoc., 65. GREENOUGH, J. B., Some Uses of neque Kros in hair-cutting, 45, 48, 50. (nec) in Latin, 129 ff. Haigh, view of Greek stage, 160 f., Kitchen scenes in Aristoph., 175 f., 195. |