Aristotle, q., 13; on inspiration, 14; on poets and versifiers, 17; c.,
19; on the Iliad and the Odyssey, 36-37; tragedy how defined
by, 40; technical terms used by, in dramatic criticism, 62; on
the chorus in tragedy, 64-65; episodes how defined by, 69; on
character and action, 82-83; inconsistent, 83.

Arts, kinds of, 4.

Atellana, form of Latin comedy, 47; discussed, 47.
Hoos, how used by Aristotle, 82.

Bacchus, worshiped in pastorals, 30.
Ballio, possible etymology of, 35.

Borcos, or Bormus, story of, 31-32.

BOUKOλaσтaí, practices of, 27.

Brass, early accounted one of the elements in doidá, 10.

Bucolic, origin of, claimed by Sicilians, 33.

BUKOMIKά, form of pastoral, 23.

Bukolaσubs, form of pastoral, 26.

Callias, Grammar of, described, 49.

Caryatis, significance of, as a surname of Diana, 24.

Ceres, worshiped in pastorals, 31.

Chaldeans, records of, how transmitted, 12.

Chapters, poetry to be divided into, 55.

Character, whether the poet teaches action or, 82-83.

Chionides, 33.

Chorus, function of, in Old Comedy, 43; succeeded by parabasis in
Middle Comedy, 44; nature and technique of, discussed, 62-65.

Chytra, satiric subjects presented at festival of, 49.

Cicero, c., 5, 10, 22; q., 58, 69; why esteemed to-day, 69.
Cleomenes, how overcome by Telesilla, 14.

Coena, etymology of, 34.

Comedy, relative excellence of, 20; sprang from pastoral poetry,
33; origin of, claimed by Sicilians, 33; refined by art, 35; songs
at cross-roads not the origin of, 35; older than tragedy, 35-36;
wrong definition of, 38; Scaliger's definition of, 38; patterned
after real life, 39; characters of, 39, 57; the three periods of,
defined and discussed, 42; characters of Old, 42-43; two
periods of Old, 42-43; Middle, defined, 43; New, defined, 44-
46; New, derived from Old, 45; Latin, classified according to
style, 45; Old, resembled mime in character, 57, 68; sub-
ject-matter of, 57; should condemn vice by illustration, 59;
subject-matter of Old, 67-68; parody in, 67-68; subject-matter
of New, 69.

Comessationes, explained, 34.

Comoedia, etymology of, 34.

Complication, term how used by Aristotle, 62.

Corinna, praiseworthy poet, 16.

Crates, first to write comedy without metre, 19, 38; poet of Old

Comedy, 44.

Cratinus, character of his comedy, 42; c., 43; wit of, analyzed, 43;
Odysseys of, 44; The Dippers of, c., 44.

Ctesibius, inventor of hydraulic organ, 10.

Daphnis, story of, 27.

Dares, said to antedate Homer, 16.

Δεῖπνον, 33.

Deliberative speaking, discussed, 5-7.

Demaratus, how overcome by Telessila, 14.
Dénouement, how defined by Aristotle, 62.
Aéois, Aristotle's use of, 62.

Ainynμaтikós, a mode of poetry, 19.

AcáλEKTOS, defined, 19.

Διαλογητικός, a mode of poetry, 19.

Dialogues, defined, 19.

Διάθεσεις, 82.

Dignity (dignitas), in style, 70.

Dionysia, tragedy acted at festival of, 49.

Diphilus, plays of, reworked by Plautus, 46.
Donatus, c., 48.

▲óρжоv, etymology of, 34.

Drama, origin of word, 33.

Apаμатiкós, etymology of, 19.

Dryads, records of, how transmitted, 12.

Durdi, Arabian term for the lees of wine, 40.

Eclogue, origin of, 22.

Εἰσαγωγικός, C., 4.

Elegies, relative excellence of, 20.

Eloquence, not the end of oratory, 3-4; a means to an end, 4.
Empedocles, natural, philosophical poet, 16; called poet by Aris-

totle, 17.

End, technical use of the word defined, 4.

Ennius, inspired by wine, 15; ridiculed by Accius, 44.

Epic, norm for all poetry, 54; life portrayed in, 55.

Epicharmus, c., 29, 35; antedates Chionides and Magnes, 33; added
plot to comedy, 33; use of кŵμos in, 34; wrongly said to have
given comedy its name, 35; plays of, reworked by Plautus,
46, 66.

Epicrates, poet of Old Comedy, 44.
Epideictic speaking, discussed, 5-7.
'ETTIDEIKTIKós, exact meaning of, 6.
Epigrams, relative excellence of, 20.
'Eπikwμášev, force of prefix in, 35.

'Eriλýva, form of pastoral, 30-31.

Episodes, not distinctive of tragedy or comedy, 69; Aristotle's
definition of, 69.

Eriphanis, a pastoral poetess, 29.

Eupolis, wit of, analyzed, 43.

Euripides, q., 39, 58;
Cyclops of, c., 58;

Medea of, c., 49; Polyphemus of, c., 49;
plays of, cited to show that tragedy may end
happily, 58; method of, in dealing with history, 59; impure
characters of, taken from life, 59; criticized for choice of titles,
61-62; chorus in plays of, 63-64; protasis employed by, 65.
'Enynμatikos, mode of poetry, 19.

Exodia, relative excellence of, 20.

Fervency (vehementia), in style, 70.

Fistula, described, 27-28; wrongly represented, 28; invention of,

attributed to Pan.

Fluency (volubilitas), in style, 70.

Flute, used by Numidians, 28.

Fulness (plenum), in style, 70.

Galen, C., 4.

Gellius, q., as to origin of Latin poetry, 16-17; defines dialogue

wrongly, 19.

Gorgias, diction refined by, 52.

Grace (venustas), in style, 70.

Graces, relation of, to Muses, proved by an oracle, 14.

Grammarians, criticized, 3, 37; argue superficially for priority of
poetry over prose, 12; suggest wrong etymology for tragedy,
39-40.

Harmony, early recognized one of the elements in doidá, 10; defined,
II; generic in song, II.

Hedyle, poet excelling in iambics, 16.

Heliodorus, followed correct method of composition in Aethiopica, 55.
Hercules, story of, in pastoral form, 32.

Hermogenes, ideas how classified by, 70.

Hesiod, directly inspired, 15; economical poet, 16; c., 37; said to
have won in a contest, 66.

Hippocrates, c., 5.

History, how different from poetry, 2, 8; narrates actual events,
2; employs characterizations, 7; idealized on occasion, 17.
Homer, directly inspired, 15; of the third class of poets, classified
according to age, 15; less polished than Musaeus, 15; drew on
history, 17; Iliad and Odyssey of, used to deduce false claims of
priority of tragedy over comedy, 36; not above criticism, 36; a
pupil of old wives, 37; compared with Virgil, to whom he is
inferior, 73-81; epithets of, cold, puerile, pointless, 73.
Horace, c., 15, 44, 54, 66; doubts whether comedy is poetry, 17;
satire of, analyzed, 43; q., 53; c., on episodes, 69.

Hours, pastoral in honor of, 32.

Hymns, most excellent form of poetry, 20.

Idomeneus, called the Pisistratidae inventors of revelries, 35.
Idyll, origin and character of, 22.

Imitation, basis of all poetry, 2; not the end of poetry, 2; an
element in poetical art, 18; objects of, means of, manner of,
differentiated, 18.

Incantations, relative excellence of, 20.

Insight, attribute of good poetry, 53.
Instruction, office of, in poetry, 18.

Interludes, relative excellence of, 20.

"Iovλos, form of pastoral,.31.

Isocrates, diction defined by, 52.

Italian, a form of Latin comedy, 48.

Jentatio, 33.

Judicial speaking, discussed in its relations, 5-7.

Juvenal, satire of, analyzed, 43.

Kaláßpoy, a shepherd's tool, 26.

Knowledge, end of learning, 3; defined, 3.

Kopúvn, a shepherd's tool, 26.

Kwμájev, etymology of, 33.

Kuos, meaning of, illustrated by passages from Epicharmus, 34.

Aaywẞóλov, a shepherd's tool, 26.

Laertius, c., 62.

Language, genesis of, 1; functions of, 1; laws of, I; of philosoph-

ers, 2; of forum and camp, 2; of poetry and history, 2.

Lenaea, tragedy acted at festival of, 49.

Libera, worshiped in pastorals, 31.

Linus, religious poet, 15.

Lityerses, story of, 31-32.

Livy, how different from Lucan, 17; used the fictitious, 17; c., 34.
Lucan, proved to be a poet, 17; how different from Livy, 17.
Lucian, degraded dialogue, 19; Discategorumenos of, c., 34.

Lucretius, natural, philosophical poet, 16.

Avdiaoral, practices of, 27.

Aúois, Aristotle's use of, 62.

AUTIépons, form of pastoral, 31.

Lya, explanations of, as a surname of Diana, 25.

Magnes, C., 33.
Martial, C., 34.

Martius, a prophetic poet, 16.

Medicine, illustration drawn from, 4-5.

Megalostrata, praiseworthy poet, 16.

Meλerá, one of the two Muses recognized by early theologians, 10.
Melissus, inventor of trabeata, 47.

Menander, plays of, reworked by Plautus, 46; probably tame, 66.
Mendemus, c., 49.

Mime, characters employed in, 57; subject-matter of, 58; related to

Old Comedy, 68.

Mimnermus, c., II; criticized, II.

Misitra, Turkish name of Caryae, 24.

Mμa, origin of, 10.

Mnemosyne, why mother of Muses, 11-12.

Mnesimachus, poet of Middle Comedy, 44.

Modes, hypodorian, phrygian, hypophrygian, discussed, 64-65.
Monodies, relative excellence of, 20.

Monoprosopos, a form of pastoral utterance, 21.

Mopsus, why used as a pastoral term, 25-26.

C.,

Musaeus, religious poet, 15; more polished than Homer, 16;
40; followed correct method of composition, 56.
Muses, Plato's explanation of origin of word, 9; explanation of
others, 11-12; Scaliger's explanation, 11; why fixed at nine,
II; faulty explanation of number of, attacked, II; surnames of,
borrowed from localities, 13; why called Thespiades and Heli-
conides, 13; why called Camenae, 13; why called 'winged', 13;
said to have contended with Sirens in song, 13; why made com-
panions of Graces, 13; relation of, to Graces, proved by an
oracle, 14; why invoked by poets, 15.

Naevius, date of, 17.

Nature, surpassed by Virgil, 52.

Negligence (securitas), in style, 70.

Nicander, natural, philosophical poet, 16.