bantur. Nam et pantomimus et pythaules et choraules in comoedia canebant (the pantomimus perhaps after the separation of singing and acting; cf. Liv. 7, 2, 10 inde ad manum cantari histrionibus coeptum diverbiaque tantum ipsorum voci relicta). Gradually, he states, the histriones (actores comoediarum) were separated from the mimi and tibicines. The notice in the glossae Salomonis is exaggerated (RhM. 22, 446. 28, 418): aput Romanos quoque Plautus comoediae choros exemplo Graecorum inseruit (so in Rudens 290-305 chorus of fishermen). Cf. n. 5.

4. The Old Attic Comedy seldom employed more than three actors; see AMÜLLER, gr. Bühnenaltertümer 176. But in the later comedy, after the chorus was abolished, it would appear that this number was often exceeded; cf. EUANTHIUS de com. p. 4 R.: ad ultimum qui primarum partium, qui secundarum et tertiarum, qui quarti loci atque quinti actores essent distributum et divisa quinquepartito actu tota est fabula. In Rome the poets were still less restricted in the number of their personages. DIOMED. 1.1. 491 in graeco dramate fere tres personae solae agunt quarta semper muta: at latini scriptores complures personas in fabulas introduxerunt, ut speciosiores frequentia facerent. But the centum chlamydes which in HOR. E. 1, 6, 41 (chlamydes Lucullus centum scenae praebere rogatus) are borrowed for the stage, are certainly only for the chorus or supers. Cf. § 13, 5. Ps.-AscoN. on Cic. div. in Caec. 48 (p. 119 Or.) latinae fabulae per pauciores agebantur personas (than the palliatae), ut Atellanae, togatae et huiusmodi aliae. MARTIAL alludes to the ancient Greek rule, 6, 6: comoedi tres sunt, sed amat tua Paula, Luperce, quattuor: et кwódν Paula прóσwrov amat. Only in two of the plays of Plautus (Cist. and Stich., both of which are however incomplete) would three actors suffice, four of them (Capt., Epid., Merc., Pseud.) require at least four, and ten at least five performers, while the Poenulus and Rudens need six. RITSCHL p.2 LV conjectures seven in the Trinummus. Of the plays of Terence the Heaut. and Hec. require five, the Ad. and Phorm. six actors; the Andr. and Eun. require even more. The writers of the palliatae did not even restrict themselves in the narrower sense in which HORACE (AP. 192; cf. Diomed. GL. 1, 491, 23), taking the Greek tragedy as his starting-point, warns them, for the sake of simplicity, against scenes for more than three speaking characters; see the enumeration in FSCHMIDT p. 4. In this subject there are several details which cannot easily be determined, e.g., in regard to the number of actors, whether there was a fixed maximum (STEFFEN 1.1. concludes that it was seven), how the actors were cast for a number of parts, and whether one part was given to several performers in different acts so as to bring on the best actors more frequently; this theory is employed to explain e.g. why the part of Laches in TER. Hec. in Bemb. and Vict. is marked with two Greek letters. See however n. 8. FSCHMIDT, d. Zahl. der Schauspieler bei Plaut. u. Ter., Erl. 1870. CSTEFFEN, de actorum in fabulis Terent. numero et distributione, in RITSCHL'S Acta soc. philol. Lips. 2, 109. HBOSSE, quaest. Terent. (c. II), Lips. 1874. FSCHÖLL, JJ. 119, 41. GHSCHMITT, qua ratione vett. et quot inter actores Terentii fabularum in scenam edendarum partes distribuerint in the Festschr. z. Karlsruher Philol. Vers. 1882, 24. Cf. n. 8.

5. GHERMANN, de canticis in Rom. fabb., opusc. 1, 290. GABWOLFF de canticis etc., Halle 1824. GRYSAR (see above § 13, 5 ad fin.). There are, however, comedies without cantica properly so-called, as Plaut. mil. glor., and others in which they occur rarely, e.g. Asin. Curc. Merc. Frequently (as in Plautus As. Bacch. Capt. Cist. Epid.) the whole company which had taken part in the play came on at the end as a caterva, with a concluding address (in trochaic septenarii) to the spectatores (FLECKEISEN, JJ. 111, 547). Cf. n. 3 and § 17, 5. In the MSS. of Plautus, not only lyric scenes in irregular or mixed metres, but others which are confined to trochaic

septenarii are designated as C (canticum or cantio) and accordingly accompanied by music, while the declamatory scenes in iambic senarii, which were simply recited, are DV as diverbia. Perhaps more correctly deverbia? see DZIATZKO and RIBBECK 1.1. On the other side BÜCHELER, JJ. 103, 273. RITSCHL, op. 3, 25. Of these cantica the lyric parts were regularly sung (singing with musical accompaniment), while the scenes in trochaic septenarii were given in recitative (recitativo accompagnato, apakaтaλoyý, chanted declamation with musical accompaniment). RITSCHL, Opusc. 3, 1, ed. Trin. 2 p. LVI. GÖTZ-Löwe on Pl. Asin. p. XIII. KDZIAтZKO, RhM. 26, 97 and JJ. 103, 819. THBERGK, op. 1, 192. WCHRIST, die Parakataloge im gr. u. röm. Drama, Münch. 1875 (Abh. d. Bayr. Ak. 13, 3, 153) p. 29. 48; Metrik 676. RIBBECK, röm. Trag. 632. See likewise AMÜLLER, gr Bühnenaltertümer 190. ZIELINSKI, Gliederung d. att. Kom., Lpz. 1885, 288. 313.

6. A musician supplied the accompaniment (modos fecit), e.g. for Plautus Marcipor Oppi; for Terence, Flaccus Claudi. The didascaliae to Terence (§ 109, 4) are the chief authority for the nature of the music; the following accompaniment is there mentioned, but cannot be understood in detail: tibiis paribus or tibiis imparibus or tibiis duabus dextris or tibiis sarranis (Tyrian, Sarra =Tyre). VARR. RR. 1, 2, 15 dextera tibia alia quam sinistra, ita ut tamen sit quodam modo coniuncta, quod est altera eiusdem carminis modorum incentiva (first voice), altera succentiva (second voice). DIOMED. 1.1. p. 492, 9. DONAT. praef. Eun. p. 10, 11 R. and praef. Adelph. p. 7, 11 R.: modulata est tibiis dextris, i.e. Lydiis ob seriam gravitatem, qua fere in omnibus comoediis utitur hic poeta (Ter.), saepe tamen mutatis per scenam modis cantata, quod significat titulus scaenae habens subiectas personis litteras M.M.C. (mutatis modis cantici or mutantur modi cantici; cf. RITSCHL, op. 3, 39). Thus we read in the didascalia of TER. Heauton.: acta primum tibiis imparibus, deinde duabus dextris. DONAT. de com. p. 12, 13 agebantur tibiis paribus et imparibus, id est dextris aut sinistris (REIFFERSCHEID inserts aut dextra et sinistra). Dextrae autem tibiae sua gravitate seriam comoediae dictionem praenuntiabant, sinistrae serranae [REIFFERSCHEID rightly erases serr.] acuminis levitate iocum in comoedia ostendebant: ubi autem dextra et sinistra acta fabula inscribebatur, mixtim ioci et gravitates denuntiabantur. Cf. KDZIAтZKO, RhM. 20, 594. Cf. GRYsar 1.1. 376. EBRUNÉR, quaest. terent. (Helsingf. 1868) p. 1 (de canticis et tibiis fabul. Ter.). KvJAN, JJ. 119, 591, 21.

7. In the Old Attic Comedy the intervals in the action were marked and filled up by choric songs, but these were given up at an early time (AMÜLLER, Bühnenaltertümer 342), in the later comedy the avλŋrýs probably as a rule took their place. Cf. PLAUT. PS. 573. But we hear nothing of a division into acts in the later comedy, nor of any fixed number of these, and Aristotle moreover is silent on the subject. In the Roman comedy too the poet left it to the manager to insert the necessary or desirable pauses. Consequently the original MSS. of Plautus and Terence showed no division into acts, nor is there any trace of such in the manuscripts which have come down to us. In the prologue of L. Ambivius (§ 16, 14) to TER. Hec. 39 primo actu placeo may be equivalent to in prima fabula. Naturally the practice in relation to these intervals became gradually fixed, and hence acts are also spoken of in a figurative sense; cf. VARRO (RR. 1, 26 quartus actus; 2, 5, 2 secundus actus; 3, 17, 1 tertius actus) and Cic. ad Qu. fr. 1, 1, 46 (see § 13, 4), cf. APUL. flor. 16, 64 cum iam in tertio actu, quod genus in comoedia fieri amat, iucundiores affectus moveret. HORACE AP. 189 is the first to speak directly of the five acts, which subsequently came to be regarded as the regular number: neve minor neu sit quinto productior actu. Donatus complains repeatedly of the difficulty of division into acts. Cf. EUANTH. de com. p. 5, 25 R postquam otioso tempore fasti

diosior spectator effectus esset et tum cum ad cantores ab actoribus fabula transibat consurgere et abire coepisset, admonuit poetas ut primo quidem choros tollerent locum eis relinquentes, ut Menander fecit . . .: postremo ne locum quidem reliquerunt, quod Latini fecerunt comici, unde apud illos dirimere actus quinquepartitos difficile est. The fact that the division into acts as transmitted to us is frequently impracticable proves its late origin. Cf. STEFFEN (n. 4 ad fin.) p 147. For a general view see DONAT. arg. Andr. p. 7, 11 R.: est attente animadvertendum ubi et quando scena vacua sit ab omnibus personis, ut in ea chorus (in the tragedy) vel tibicen (in the comedy) obaudiri possint; quod cum viderimus, ibi actum esse finitum debemus agnoscere. Five acts as the rule are also presupposed by DONAT. for the Ad. p. 7, 1 R.: haec quoque, ut cetera huiusmodi poemata, quinque actus habeat necesse est, and for the Hec. p. 12, 16 R.: divisa est ut ceterae quinque actibus legitimis. The first act generally contains the explanation of the plot (póracıs), in acts II to IV the knot is entangled and the intrigue brought about (éπiraois), in the fifth is the dénonement (καταστροφή). Cf. EUANTH. p. 7, 21 R. DONAT. de com. 10, 9 R. VICTORIN. GL. 6, 78, 29 haec per medios actus varie, rursus in exitu fabularum etc. RITSCHL, Opusc. 2, 354. KFHERMANN, de Ter. Adelphis in Jahn's Jahrbb. Suppl. 6, 71. WSCHMITZ, de actuum in Plaut. fab. discriptione, Bonn 1852. EBRUnir, quaest. terent. (1868) 20. On the metrical and musical composition of the several acts ASPENGEL, d. Akteinleitung d. Kom. d. Plaut., Münch. 1877.

8. The division into scenes is regularly found in all MSS. of Plautus and Terence, the names of the characters speaking in each being indispensable as headings. The interlocutors are generally in the MSS. marked within the scenes, with the initial letter of their names; but sometimes, for the sake of abbreviation, with single Greek letters; the key to this system is given in the heading of the scenes, where the names are inscribed with the letters which correspond to them. So in some places in the cod. vet. (B) of Plautus (§ 99, 7, most completely in the Trin.) and most thoroughly carried out in the Bembinus and Victorianus codd. of Terence (§ 109, 2). RITSCHL, Op. 2, 294. 365; ed. Trin.2 p. Lv. and others (TEUFFEL, JJ. 105, 108. CSTEFFEN [n. 4] 116. 150. WWAGNER, JB. 1873, 446) have wrongly assumed that these letters had a dramaturgic meaning and referred to the distribution of the parts among the actors, and to their comparative importance as leading and secondary parts, etc.: see FLEO on Sen. trag. 1, p. 85.-ASPENGEL, Szenentitel u. Szenenabteilung in d. lat. Kom., Münch. SBer. 1883, 257.

9. As a compensation for their curtailing of the originals and in order to increase the attraction of a play, Naevius, Plautus (cf. GGörz, act. soc. Lips. 6, 310. 315), Ennius and, following their example, Terence also (Andr. prol. 18) took single scenes out of a Greek play of similar plot, and transferred them into the one adopted by them, which proceeding Luscius (§ 107, 5) by way of censure called contaminare (see Andr. prol. 16, Heaut. prol. 16). This clumsy proceeding, while it gained for the play a few effective incidents, no doubt often injured the composition as a whole and caused all sorts of irreconcilable discrepancies.

10. The prologue commonly contained a summary of the subject of the play (TER. Andr. prol. 5), but, like the parabasis of the old comedy, was also used for the exposition of the poet's personal wishes. DONATUS de com. p. 10, 11 R. accordingly distinguishes four varieties: συστατικός, commendaticius ; ἐπιτιμητικός **, relativus; dpaμaтikós, argumentativus; μKTés, mixtus. The prologue was recited without any theatrical costume (sine ornamentis, PLAUT. Poen. prol. 123,=ornatu prologi, TER. Hec. prol. B, 1) by an actor who had not to appear at the very beginning of the first act (change of dress, Poen. prol. 126; exceptions in RITSCHL

Parerg. 19) or by the dominus gregis (as frequently in Terence). But it does not always precede the first act (PLAUT. mil. 2, 1. Cist. 1, 3; cf. DONAT. praef. to Ter. Phorm. p. 14, 24 R.) and may even be omitted altogether (PLAUT. Curc.). For new performances of a play, even after the poet's death, new prologues used to be composed; those prefixed to plays of Plautus, which have been preserved, are chiefly of this kind, and for the most part insufferably diffuse and insipid; see RITSCHL, Parerga 209. 225. 233, and below § 99, 1.

11. The рbowа жротатιкά chiefly serve to facilitate the exposition, on which great care was bestowed, there being no play-bill to assist the intelligence of the spectator. DONAT. arg. Andr. p. 4, 4 R: persona protatica intellegitur quae semel inducta in principio fabulae in nullis deinceps fabulae partibus adhibetur. EUANTH. de com. p. 6,7 R. πротатIкà πрśσwna, i.e. personas extra argumentum arcessitas, non facile ceteri habent (Plautus however employs as such Artotrogus in the Miles and Grumio in the Most.), quibus Terentius saepe (in Andr. Phorm. and Hec.) utitur, ut per harum inductiones facile pateat argumentum.

12. The customary form of the epilogue is: plaudite. Cf. MENAND. fr. 831 ¿žáρAVTES ÉTIKρоThσaтe with PLAUT. Truc. conclusion: plaudite atque exsurgite. See besides QUINTIL. 6, 1, 52 illud quo veteres tragoediae comoediaeque cluduntur 'Plodite.' HOR. AP. 155, etc.

13. Masks. DIOMED. GL. 1, 489 antea galearibus (besides paint etc.), non personis, utebantur, ut qualitas coloris indicium faceret aetatis, cum essent aut albi (old men ; cf. albicapillus, PLAUT. Mil. 631. Bacch. 1101. Trin. 873; also long beard and staff, Plaut. Men. 854. 856) aut nigri (youths; gallants with curled hair, cincinnati, cf. PLAUT. Mil. 923) aut rufi (slaves). personis vero uti primus coepit Roscius Gallus, praecipuus histrio, quod oculis perversis erat (cf. Cic. nat. deor. 1, 79, see concerning him RIBBECK, röm. Trag. 671) nec satis decorus sine personis nisi parasitus pronuntiabat. This evidently professional account, which probably comes from Suet. and Varro, is contradicted by DONAT. de comoed. p. 10, 1 R. personati primi egisse dicuntur comoediam Cincius Faliscus, tragoediam Minucius Prothymus. Cf. DONAT. praef. to Ter. Eun. p. 10 R. acta est etiam (iam ?) tum personatis L. Minucio Prothymo, L. Ambivio Turpione and praef. Ad. p. 7 haec acta est (594/160) agentibus L. Ambivio et L. * * qui cum suis gregibus etiam tum personati agebant. If this account were correct with regard to Ambivius Turpio, the use of masks would go back to the time of Terence, but his plays themselves disprove it (see e.g. Phorm. 210). For an attempt to assign a later date to Minucius Prothymus and to connect him with Roscius (supposing Roscius to have introduced masks into Minucius' troupe) see DZIATZKO, RhM. 21, 68 and RIBBECK, röm. Trag. 661. From Cic. de or. 3, 221 in ore sunt omnia personatum ne Roscium quidem magnopere laudabant nostri illi senes we may assume that about 630/124 actors were still without masks, but that they came in shortly after that time, and probably in response to the universal tendency of the later Roman drama, to assimilate the performances as much as possible to the Greek custom. About 640/114 Roscius might already have appeared in masks. Having once been introduced, the wearing of masks long remained the rule; at least we may gather this from the cogi in scena ponere personam (FEST. 217; see above § 9, 4); and after this, when actores comoediarum (as distinguished from the mimi=artifices scenici, in SEN. ep. 1, 11, 7, who alone played without masks) are mentioned, stress is laid only on the voice, the diction and the action as characteristic, as in QUINTIL. 3, 8, 51. 11, 3, 178. It 4, 3, 3 was afterwards sought to lessen the inconveniences of masks: as by large openings for the eyes and mouth, so that the facial expression (Cic. de or. 2, 193. 3, 221) should not be entirely wasted. See CROBERT, ann. 1880, 206. Finally the masks

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were got rid of, most likely under the influence of the Mimus. DONAT. Ter. Andr. 4, 3 sive haec (femina = Mysis) personatis viris agitur, ut apud veteres, sive per mulierem, ut nunc videmus. Cf. CSTEFFEN 154. CHHOFFER, de personarum usu in Terentii comoediis, Halle 1877.-Ancient representations of actors: FWIESELER, Denkm. d. Bühnenwesens, Gött. 1851. THSCHREIBER, kulturhist. Bilderatlas T. 1-6. AMÜLLER's Bühnenaltert. 227 sqq.; concerning these in the MSS. of Terence, see § 109, 2.

14. As actores comoediarum are known to us, in the time of Plautus, a certain (T. Publilius) Pellio (§ 97, 8 n. 1. RITSCHL, Parerga 250. 392. WSTUDEMUND, comment. Mommsen. 801), in the time of Terence (cf. n. 13) especially: L. Ambivius Turpio, the most famous manager and actor of the period before Cicero (cf. Cic. sen. 48. TAC. dial. 20. SYMм. ep. 1, 31, 3. 10, 2, 1), further L. Atilius of Praeneste (cf. § 107, 2). Belonging to the Republican period (probably the 7th century) M. Ofilius Hilarus (PLIN. N.H. 7, 184); to the time of Quintilian (11, 3, 178) Stratokles and Demetrius (§ 15, 1).

17. Togata is the name given, in contradistinction to palliata, to comedies with Roman (Italian) subject-matter. Later on this comedy was called also tabernaria. It represented the life of the lower classes in Rome; thus it was coarser in tone than the palliata, but at the same time had greater freshness and vitality. But it surpasses the palliata especially in its conception of family life, the female sex being far more prominent in it, and the slaves holding comparatively insignificant parts. The chronology of the togata is defined on the one hand by the overrefined palliata of Terence, and on the other by the artificial Atellana and the Mimus. Its principal poets are Titinius, Quinctius Atta and L. Afranius, all between 589/169 and 675/79. Afranius raised the togata into higher circles of society, introduced the arrangement and tone of the palliata into it, sometimes even used Greek plays for his purposes, and in this way created a kind of mixed species, which, however, died out with him. Even in the Imperial period Afranius' togatae were performed.

1. In the broadest sense of the word togata may designate any fabula (serious or light), with Roman subject-matter. DIOMEDES GL. 1, 489 enumerates as togatae a) praetextatae, b) togatae=tabernariae, c) Atellanae, d) planipedes, and defines them: quae scriptae sunt secundum ritus et habitum hominum togatorum i.e. Romanorum. In this sense togata comprises also the trabeata which Diomedes omits, though this was merely a transient and unimportant species, devoted especially to the equites, whose peculiar habit was the trabea (PERS. 3, 29. DIO 56, 31), and a species merely represented by C. Melissus its originator (§ 244, 2). In the same general sense, and especially of praetextae, SEN. ep. 1, 8, 8 uses the term togatae: non attingam tragicos nec togatas nostras. habent enim hae quoque aliquid severitatis et sunt inter comoedias ac tragoedias mediae.

2. DIOMED. 1. 1.: secunda species est togatarum quae tabernariae dicuntur et humilitate personarum et argumentorum similitudine comoediis (=palliatis) pares.