EXCHANGE 
 
MAR ^ -^^^ 
 
 THE HOUSE-DOOR 
 
 ON THE 
 
 ANCIENT STAGE 
 
 A DISSERTATION 
 
 Presented to the 
 
 Faculty of Princeton University 
 
 In Candidacy for the Degree 
 
 OF Doctor of Philosophy 
 
 BY 
 
 W. W. MOONEY 
 
 /^' 
 
 BALTIMORE 
 
 WILLIAMS & WILKINS COMPANY 
 
 1914 
 
THE HOUSE-DOOR 
 
 ON THE 
 
 ANCIENT STAGE 
 
 A DISSERTATION 
 
 Presented to the 
 
 Faculty of Princeton University 
 
 In Candidacy for the Degree 
 
 OF Doctor of Philosophy 
 
 BY 
 
 W. W. MOONEY 
 
 BALTIMORE 
 
 WILLIAMS & WILKINS COMPANY 
 
 1914 
 
Accepted by the Department of Classics 
 June 1913 
 
 

 PREFACE 
 
 I gladly take this occasion to express my great obligations to Professor A. 
 M. Harmon, who suggested to me this subject of inquiry and has given me 
 the benefit of his constant criticism during the prosecution of this study. I 
 also take genuine pleasure in thanking Professor Edward Capps for many 
 valuable suggestions. Professor G. W. Elderkin has very kindly assisted 
 me in collecting such archaeological material as is found in this dissertation. 
 
 W. W. MOONEY. 
 
 Adelphi College, Brooklyn. 
 
 284663 
 
Matri Meae 
 Pietatis Causa 
 
CONTENTS 
 
 Introduction 9 
 
 Chapter I. — Fores, Ianua, Ostium 11 
 
 The theory of an inner and outer door. — Was the street-door (outer) kept 
 open by day? — Occlusa means locked. — The open door was exceptional. — 
 The terms fores, ianua, and ostium used for the same door. — So fores 
 and ianua. — So /ores and ostium. — The assumption of an open hallway un- 
 necessary .^-Only one door at entrance, usually kept closed. — Archaeological 
 evidence. — Fores a single or double door? 
 
 Chapter II. — Knocking at the Door in the Drama 19 
 
 Knocking customary in private life. — Rare in tragedy. — Calling. — The 
 dramatic purpose of knocking. — The vocabulary of knocking. — KowTetv. 
 — Kpoveiv. — Ways of knocking. — Greek words that express violent knock- 
 ing. — Tevetv and dpvyopav comic. — Pultare and pulsare. — Latin words that 
 express violent knocking. — Other words. — Knockers and bells. 
 
 Chapter III. — Knocking at the Door Before Coming out of the House 25 
 
 When doors of private houses opened outwards, knocking may have been 
 necessary as a warning to those outside. — Customary on the stage accord- 
 ing to Plutarch and Helladius. — Origin of this view. — The Scholiasts' inter- 
 pretation of \f/o(f>€lv transitive as intentional knocking. — As a noise incidental 
 to opening of the door. — Indications of a current misuse of \po<f)€lv, a sole- 
 cism. — General meaning of intransitive use of \po(f>a,v, crepare-concrepare. — 
 Transitive use. — When used in connection with the door. How the 
 \l/64)os (crepitus) of the door could be prevented. — The use of ipo(l>6iv 
 and crepare-concrepare in connection with the opening of the door by a 
 person about to enter. — ^o(f>€lv used when a person is about to come out. — 
 Other expressions with the same connotation. — Crepare-concrepare when 
 a person is about to come out. — Sonitus of the noise made by the door. — 
 Aperire for crepare. — The noise of the door used for special effect as a dra- 
 matic device. — Conclusions as to rpotpelv and crepare. — UexXrfxe rijv dvpav in 
 Menander. — Pepulit fores in Terence explained by Tacitus. — Percussitin 
 Plautus. — General conclusion. 
 
 Chapter IV. — Did the Stage Door Open Outwards or Inwards? 42 
 
 That it opened outwards the result of our interpretation of ireirXrixi, 
 pepulit, percussit. — Testimony of Plutarch and Helladius. — In the early 
 Greek private house. — In the fourth century. — At Priene. — In the Roman 
 private house. — At Pompeii. — The stage-door in Greek tragedy. — In Greek 
 and Roman comedy. — Conclusions for the theater. — No evidence from 
 ruins of theaters. — Evidence from vases, wall-paintings, and reliefs. 
 
>\ ^. 
 
 8 CONTENTS 
 
 Chapter V. — ^The Use of the Stage-door and the Parodoi in the Plays 49 
 
 Amount of action in a play may be measured roughly by the number of 
 entrances and exits. — Tables showing the number of exits and entrances 
 by the door and by the parodoi in each play. — Comments. — The words 
 and expressions used in connection with entrances and exits in the Greek 
 drama. — 'Ek regularly used for entrances from the house. — Eis for exits into 
 the house. — np6s regularly used for entrances by the parodoi. — 'AirS for 
 exits by them. — Exceptions. — The words and expressions used in connec- 
 tion with entrances and exits in the Roman drama. — Ex usually used for 
 entrances from the house. — In for exits into the house. — Ad commonly used 
 for entrances by the side-entrances. — Ab for exits by them. — Tabulation of 
 words and expressions used, I : Entrances by the scene-door, Greek ; II : 
 Exits by the scene-door, Greek; III: Entrances by the parodoi, Greek; IV: 
 Exits by the parodoi, Greek; V: Entrances by the scene-door, Latin; VI; 
 Exits by the scene-door, Latin; VII: Entrances by the side-entrances, 
 Latin; VIII: Exits by the side-entrances, Latin. 
 
INTRODUCTION 
 
 It is my purpose in this dissertation to investigate the subject of the 
 door in the back-scene of the Greek and Roman theater and its use during 
 dramatic performances. A number of questions connected with the stage- 
 door, with regard both to its physical characteristics and to the use which 
 the poets made of it, have hitherto been more or less obscure.' A reexamina- 
 tion of the evidence has therefore seemed desirable and opportune, especially 
 since, with the discovery in recent years of considerable portions of new 
 text of Menander, some fresh material has come to light and the interest of 
 classical scholars in the general topic has been newly aroused. In dealing 
 with the problem, I have taken into consideration not only the texts of the 
 tragic and comic poets, Greek and Latin, but also whatever pertinent mate- 
 rial I have been able to find in the classical literature and in the archaeological 
 remains. 
 
 The dissertation is divided into five chapters : In the first chapter is dis- 
 cussed the theory, which I consider erroneous, that each house represented 
 in the back-scene in the dramas of Plautus and Terence had a doorway with 
 two doors, an inner and an outer, the latter generally open by day. My refu- 
 tation of this theory consists in shomng (1) that it was not usual for the 
 front door to be kept open during the day, (2) that ianua, fores, and ostium 
 are applied to this door without any distinction, and (3) that certain pas- 
 sages in Plautus, which might seem to imply an open hallway, may readily be 
 explained by assuming a doorway or shallow recess in front of the door. 
 
 In the second chapter I discuss (1) knocking at the door from the play- 
 wright's point of view and (2) the vocabulary {kottt^iv, etc. . . . pultare, etc.) 
 employed in describing knocking. 
 
 Knocking at the door before coming out of the house is discussed in the 
 third chapter. The purpose of the discussion is to show that Plutarch (Poh- 
 lic. 20) and Helladius (apud Phot. Bihl. Cod. 279) are mistaken in saying 
 that it was customary for an actor to give an intentional knock before passing 
 out of the house to the acting space in front of it. 
 
 The object of the fourth chapter is to determine which way the stage- 
 door was made to open, outwards or inwards. The evidence from the plays 
 and from the vases, wall-paintings, and reliefs show that Plutarch (op. 
 
 9 
 
10 INTRODUCTION 
 
 cit.) and Helladius (op. cit.) are right in stating that the stage-door swung 
 outwards. 
 
 The fifth chapter is devoted to the use of the stage-door and the 
 parodoi in the plays. Questions connected with entering and leaving the 
 scene of action through them are discussed, and the vocabulary used in con- 
 nection with entrances and exits, both through the door and by the side- 
 entrances, is given and summarized. 
 
CHAPTER I 
 
 Fores, Ianua, Ostium 
 
 There has been a persistent tradition among modern interpreters of 
 Plautus and Terence that the house represented in the back-scene of their 
 dramas had a doorway with two doors, an inner and an outer, and that the 
 latter was regularly kept open by day. The earliest expression of this view 
 which we have been able to discover is in Lambinus' (1520-1572) note on 
 Plautus' Mostellaria u, ii. 14 (1. 444: sed quid hoc? occlusa ianua est inter- 
 dius) : ^' Claudebantur quidem interdiu fores intus, sed non foris; nisi aut cum 
 aedes essent vacuae, aut cum paterfamilias eos qui domi erant, nolebat domo 
 egredi posse. Claudebantur autem fores aedimn clavi Laconica." (Delphine 
 edition Var. Clas. iv. p. 1966). Valpy's note on the same passage (Delphine 
 edition Var. Clas. ii, p. 817) is almost identical with that of Lambinus: 
 ''Januae erant duae: una in quam de vicis gradus fiebat, et quae etiam nunc a 
 nostris exterior dicitur; altera interior: haec semper erat clausa; ilia nunquam, 
 nisi aut noctu, aut cum vacuae essent aedes et claudebatur Laconica clavi. *' 
 Ussing has two notes, written in 1875, to the same effect : (a) Most. 4:44: (435) : 
 "occlusam, saltem extrinsecus, ianuam esse parum conveniebat diurno tem- 
 pore, quo ventitabant homines et pulsantibus ianitor intus aperiebat" (b) 
 Amph. 1011: "Januae interdiu apertae esse solebant." The same doctrine 
 is frequently promulgated in school editions.^ 
 
 This theory embodies two distinct propositions, (1) that the ianua was 
 generally kept open by day, and (2) that there was an inner door which was 
 usually kept closed. The validity of the second proposition depends upon 
 the validity of the first; for, if it can be shown that the ianua was generally 
 open, we should be compelled to admit the existence of an inner door, usu- 
 ally closed, in order to account for the numerous references to knocking at a 
 closed door, and to the noise made at the door in going out of the house 
 (crepare-concrepare) . On the other hand, if there is no ground for the asser- 
 tion that the ianua was generally open, the only reason for assuming that 
 there was an inner door is thereby done away with. The assertion that the 
 
 1 See e.g. Tyrrell, Mil. Glo., note on 1. 154; Ashmore, And., note on 1. 682; Fair- 
 clough, And., note on 1. 682. 
 
 11 
 
12 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 outer door was not kept closed during the day is based on three passages 
 in Plautus, in which surprise is expressed by a character who approaches a 
 house and finds the street-door occlusa. Let us now enter into a discussion 
 of these passages. 
 
 1. Amph. 1018: sed aedes occluserunt. eugepae!^ Juppiter in the guise 
 of Amphitruo has gone into the house (1. 983) and is closeted with Alcumena. 
 Mercury also enters the house when he sees Amphitruo approaching (1. 1005), 
 announcing that he will ascend to the roof and in the guise of Sosia mock his 
 pretended master and keep him from entering the house while Juppiter is 
 there: 11. 1007f. : ibo intro, ornatum capiam qui potis decet; | dein susum ascen- 
 dam in tectum, ut ilium hinc prohibeam. Amphitruo arrives and purposes 
 to enter his house (1. 1015), of course without knocking, but on trying the 
 door finds it locked: 11. 1018 ff.: sed aedes occluserunt. eugepae, . . . feriam 
 foris. I aperite hoc. heus, ecquis hie est? ecquis hoc aperit ostium? Mercury 
 answers from the roof and Amphitruo continues to knock vigorously at 
 the door (11. 1022, 1026). The whole situation demands that the door be 
 locked, bolted, and barred. Mercury evidently locked it as he went in. 
 
 2. Most. 444: sed quid hoc? occlusa ianua est interdius. Tranio, on 
 returning from the harbor (11. 348 ff.), announces to Philolaches that his 
 father Theopropides has arrived: 1. 365: pater, inquam, tuos venit. Philo- 
 laches is greatly disturbed (11. 369 ff.) at his father's unexpected return and 
 wishes to conceal from the old gentleman the revelrj^ that has been going on 
 in front of the house during the preceding scene (11. 313 ff.). Tranio's in- 
 genuity solves the difficulty. At his suggestion, Philolaches and his fellow- 
 revelers go into the house (11. 397 ff.) and Tranio locks the door on the out- 
 side while the puer locks it on the inside: 1. 405: hasce ego aedis occludam 
 hinc foris. 11. 425 f . : clavem cedo atque abi intro atque occlude ostium, | et 
 ego hinc occludam. 
 
 3. Stick. 308: quid hoc? occlusam ianuam video. It is indeed true that 
 this door was open in 1. 87: sed apertast foris. Now, however, it is closed 
 and locked, otherwise Pinacium, who is a house-slave, would certainly en- 
 ter without completely fatiguing himself by continuing to knock violently 
 upon it: 11. 308ff.: ibo et pultabo foris. . . . vide quam dudum hie asto et 
 pulto . . . experiar fores an cubiti ac pedes plus valeant . . . defessus sum 
 pultando. 
 
 It has been shown that the doors in the three passages just discussed 
 were locked. That occludere means "lock" is clear not only from the 
 
 * In citing passages from Plautus Leo's text is used. 
 
FORES, lANUA, OSTIUM 13 
 
 manner of its use by Tranio in the Mostellaria, but from its use in other 
 passages.^ If one may judge from Menander, Epitr. 535-6: 17 dvpa Tratryrea, 
 K€K\€Lfievr] yap ean, the word ocdusa translates KeK\eifxevr] in the original. 
 We must conclude, therefore, that the statements of Lambinus, Valpy, Ussing, 
 and all others who claim that the ianua remained open by day, have been 
 based upon a misconception of the real significance of the passages.^ The 
 surprise is occasioned in each instance, not because the door is shut, but 
 because it is locked. 
 
 It may be thought that the passages discussed below, in which the door 
 is represented as remaining open, are opposed to our contention that it was 
 customary to keep the street-door closed during the day. A close investiga- 
 tion of the passages, however, shows that these apparent exceptions are in 
 favor of the view that the door was ordinarily kept shut. 
 
 1. Stick. 87: ibo intro. sed apertast foris. Antipho, when about to enter 
 the house of his daughter, is surprised, as the word sed shows, to find the 
 door open. The reason it is open is that his daughter has just come out and 
 is pacing up and down in front of it in conversation with her sister. The 
 same door is subsequently closed and locked (11. 308 ff.). 
 
 2. Men. 351 : sine fores sic, abi, nolo operiri. The fact that Erotium, 
 on leaving the house only for a moment to speak to Menaechmus, has to give 
 her slave direct orders not to close the door, makes it manifest that the door 
 in her house was usually kept closed. 
 
 3. Bacch. 723: cedo manum ac subsequere proprius me ad fores, intro 
 inspice. Chrysalus, the slave of Mnesilochus, has promised to get some 
 money out of his master's father. In carrying out his scheme he sends Pis- 
 toclerus into the house of the Bacchides to get material for ^\Titing a letter 
 (1. 715). While Pistoclerus is aw^ay, Chrysalus asks Mnesilochus where the 
 company proposes to have dinner. In answer, Mnesilochus leads him to the 
 door and lets him look in. As he says nothing of opening the door, it is prob- 
 
 3 See, for example, Cist. 649: ubi estis, servi? occludite aedis pessulis, repagulis. 
 Aul. 103 f . : occlude sis fores ambobus pessulis. Stichus' video in the passage quoted 
 above is not to be taken literally, for of course he cannot "see" that the door is 
 locked. He uses it instead of a verb denoting general sense-perception: "The door 
 is locked, I see." 
 
 ^ This conclusion is supported by Becker, Gallus (Eng. Trans.) p. 241: "The door 
 was closed during the day but not generally fastened;" by Lorenz ad Most. 1. 444: 
 "Sie (ianua) war am Tage gewohnlich nur geschlossen, nicht verschlossen;" by Mart- 
 ley, ''Remarks and Suggestions on Plautus," Hermathena IV (1883) pp. .303 ff.: "The 
 ianua or ostium was as a rule kept shut;" by Marquardt, Privatlebenp. 235: "Uebrigens 
 pflegte man die Hausthiir am Tage nicht zu verschliessen." 
 
14 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 ably open already; but this is easily explained. Pistoclerus, intending to 
 return soon (1. 725), has left it open temporarily, being in too much of a 
 hurry to shut it. At any rate, the same door was closed in 11. 573 ff. and has 
 to be opened again in 1. 833: forem hanc i)auxillum aperi; placide, ne crepa. 
 
 4. Rud. 1202: accedam, opinor, ad fores, quid conspicor? Daemones 
 has just (1. 1191) come out of his house and is waiting for Trachalio, who is 
 expected to come at once upon the scene through the same door: 1. 1200: 
 iussique exire hue servom eius. Trachalio delays in the house and this causes 
 Daemones to step to the door and look in. There is nothing to show that 
 the door remained open between 11. 1191 and 1202, but, if it did, it was due 
 to the fact that Trachalio was expected to come out any moment. The same 
 door was shut in 1. 413: heus ecquis in villast? ecquis hoc recludet? 
 
 Two phrases occur in Plautus which might be taken to imply an open 
 hallway and be cited in support of the theory of an open ianua. But they 
 are far too vague to justify such an assumption. 
 
 1. Merc. 477: omnia ego istaec auscultavi ab ostio, omnem rem scio. 
 Charinus, thinking himself alone, is bewailing his misfortunes in front of the 
 house. His friend and neighbor Eutychus calls him, explaining that he has 
 heard ah ostio all that had taken place between him (Charinus) and his 
 father in the preceding scene. 
 
 2. Aul. 666: tantisper hue ego ad ianuam concessero. Strobilus, who is 
 trying to get into his possession Euclio's money, notices that the miser is 
 coming out of the temple of Fides. Strobilus steps aside and conceals him- 
 self near the door (ad ianuam) that he may overhear Euclio's plans about 
 hiding his gold. 
 
 To explain these two passages we need only assume a shallow recess in 
 front of the door, or a prothyron or porticus. As for such expressions as ante 
 aedes and ante ostium, Lundstrom has shown, by his comprehensive investi- 
 gation, that they do not imply an open hallway with two doors but refer to 
 the space on the outside of the house. ^ 
 
 Since it has been shown, as we think, that it was usual for the street-door 
 to remain shut during the day, let us now endeavor to show that ianua, 
 fores, and ostium are applied to this door without any distinction. The usage 
 of these words as found in Plautus and Terence is first taken into considera- 
 tion and then we pass to later times and cite passages to show that the same 
 usage was still in vogue. In each passage given below, the language and 
 action show that the words used must refer to one and the same door. 
 
 • ''Aussen oder Iiinen," Eranos I. pp. 95 fif. 
 
FORES, lANUA, OSTIUM 15 
 
 PLAUTUS AND TERENCE 
 
 I. Fores, ianua, and ostium refer to the same door: Most 444 f.: sed 
 quid hoc? occlusa ianua est interdius. I pultabo. heus, ecquis intust? aper- 
 itin fores? In 11. 429, 453, 456, 461, 506, 516, and 521 this door is again re- 
 ferred to by fores. Ianua is again used for the same door in 1. 512. Ostium 
 refers to it in 11. 411 b and 425. The fact that the door is locked (11. 400, 
 405, 425, 426) proves that the three words must refer to the same door. 
 
 II. Fores and ianua refer to the same door: Stick. 308: quid hoc? oc- 
 clusam ianuam video, ibo et pultabo fores. True. 254 f . : sed fores, quidquid 
 est futurum, feriam. | ecquis huic tutelam ianuae gerit? ecquis intus exit? 
 Asin. 384 ff.: quis nostras sic frangit? . . . nolo ego fores conservas I 
 meas a te verberarier. . . . Pol hand periclum est, cardines ne foribus effrin- 
 gantur. . . . ita haec morata est ianua; extemplo ianitorem I clamat, pro- 
 cul si quem videt ire ad se calcitronem. 
 
 III. Fores and ostium refer to the same door: Most. 1046: ostium quod 
 in angiportu est horti, patefeci fores. Amph. 1019 f. : feriam foris. I aper- 
 ite hoc. heus, ecquis hie est? ecquis hoc aperit ostium? Capt. 830 ff . : heus ubi 
 estis? ecquis <hic est? ecquis > hoc aperit ostium? . . . aperite hasce am- 
 bas fores | prius quam pultando assulatim foribus exitium adfero. Merc. 
 130 ff. : et etiam cesso foribus facere hisce assulas? aperite aliquis. . . . num 
 quisquam adire ad ostium dignum arbitratur. Ps. 604 ff. : ostium pultabo. 
 
 . . . nam ego precator et patronus foribus processi foras. Bacch. 581 f. : 
 fores pultare nescis. . . . ecquis hoc aperit ostium? Pers. 569 : at enim illi 
 noctu occentabunt ostium, exurent fores. Heaut. 275 f. : Dromo pultat fores; 
 I anus quaedam prodit; haec ubi aperit ostium. Ad. 632 ff.: accedam ad 
 fores. . . . aperite aliquis actutum ostium. 637 f.: sed quis ostium hie 
 pultavit? . . . tune has pepulisti fores?^ 
 
 CICERO AND APULEIUS 
 
 I. Fores and ianua refer to the same door: Cicero, N.D. 2.27.67: fores- 
 que in liminibus profanarum aedium ianuae nominantur. Apuleius, Met. 
 1.22: et cum dicto modico secus progressus ostium accedo et ianuam firmiter 
 oppessulatam pulsare vocaliter incipio. tandem adulescentula quaedam pro- 
 cedens "heus tu'' inquit "qui tam fortiter fores verberasti?" . . . "Dum 
 annuntio" inquit "hie ibidem me opperimino'^ et cum dicto rursum foribus 
 oppessulatis iritro capessit. modico deinde regressa patefactis foribus "ro- 
 
 • In citing passages from Terence Tyrrell's text is used. 
 
16 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 gat te" inquit. Apuleius, Met. 3.1: quati fores interdum et frequent! cla- 
 more ianuae nostrae perstrepi. Met. 9.20: ianuam pulsat, saxo fores verberat. 
 
 From the evidence that has been presented it is obvious (1) that the 
 street-door was usually kept closed during the day, and (2) that ianua and 
 Jores are applied without any distinction to it. While ostium refers espe- 
 cially to the doorway, it is also often applied to the door itself, just as we use 
 the word "door" indiscriminately of both the door and the doorway.^ 
 
 The evidence that has been presented shows that everything points to 
 the conclusion that there was but one door at the main entrance of the house 
 in the back-scene and that it was kept closed during the day. This conclu- 
 sion is supported by the likelihood that there was only one door in the Greek 
 new comedy. At any rate, there is nothing in what we have of Menander 
 which suggests two doors; either at dbpai or 17 Bvpa (the door) is invariably 
 used and most likely shows that there was but one door.^ 
 
 Let us now consider such evidence as may be gathered from archaeolog- 
 ical sources. Of the private houses whose remains have been found at Delos, 
 the house above the Inopus has one door {B.C.H. 19 (1895), p. 506, pi. 5) and 
 each of the following has two doors: the house north of the sacred lake (ibid, 
 p. 486, pi. 33); the house on the hill (ibid, p. 494, pi. 5); the house in the 
 "Street of the Theater" (ibid, p. 498, pi. 5); and the house west of the sacred 
 lake (ibid, p. 511). The house in Dystus, Euboea, has two doors {Athen. 
 Mitt. p. 458 f., Taf. V). At Priene the houses had only one door each 
 (Wiegand-Schrader, Priene, pp. 285 ff.)^ 
 
 For the Romans, however, there is archaeological evidence from Pom- 
 peian houses which goes to show that there was but one door. Mau (Fiihrer 
 durch Pompeji p. 8) makes this statement about private houses: "Von der 
 Strasse war das Atrium durch einen kurzen Gang (fauces oder prothyron) 
 
 ' Martley (I.e.) concludes that "the fores and the ianua were not distinct doors". 
 Ramsay, note on Most. II, ii. 23-25, says: "The words generally employed by the dram- 
 atists to denote the outer door of a dwelUng-house are ianua, ostium, and foris or 
 fores." Tyrrell, note on Mil. 154, says: "The terms ostium, ianua, and fores seem to 
 be used indiscriminately for both the inner and the outer door." 
 
 • See e.g. Epitr. 485; Per. 126, 426; Sam. 85, 151, 210, 222, 324. 
 
 •One passage in Lysias (12*16: ravra Siavorjdds i<t>evyov, kKtlvcov kiri ri aiXeU^ Ovpq. 
 riiv 4>v\aKiiv voiovfiipuy) seems to contain nothing that would justify one in concluding 
 that there was more than one door connected with the entrance to this house, while 
 in another passage from the same writer (1*17: iv kKtlvn tv vvktI bf/6<t>ti 1) ukravKos dbpa 
 Kal ii cXKtios) two doors are apparently indicated. On this subject see: Daremberg- 
 Saglio, s. V. xanua\ MOller, Handbuch IV. 1, 2, 8.y. niaav\os', Becker, Charicles (Eng. 
 Trans.) pp. 251 fif. 
 
FORES, lANUA, OSTIUM 17 
 
 zuganglich, in welchem die Thiir entweder unmittelbar an der Strasse oder 
 etwas weiter einwarts angebracht war. In letzterem. Falle wird der vor der 
 Thiir liegende, also unverschlossene Teil des Ganges vestibulum genannt." 
 
 Having decided that each house represented in the back-scene in the 
 dramas of Plautus and Terence had but one door and that it was usually- 
 kept closed, let us conclude the first chapter of this dissertation by endeavor- 
 ing to ascertain whether the stage-door was composed of two folding-pieces 
 or only one. 
 
 The use of ambas in two passages in Plautus (Most. 453 : has ambas foris; 
 Capt. 831 : hasce ambas fores) is unquestionable evidence that these two doors 
 were double. Additional evidence in the same direction is the fact that 
 nearly all the vases, wall-paintings, and reliefs, representing dramatic scenes, 
 show the double door.^^^ Furthermore, the private houses in Priene (Wie- 
 gand-Schrader, p. 305) and Pompeii (Mau-Kelsey, p. 242) had doors of this 
 kind. There is also a passage in Lucretius which tends to show that the door 
 was double: iv, 276: inde fores ipsae dextra laevaque secuntur. 
 
 That both the singular (foris) and the plural (fores) are often applied to 
 the same door is obvious from the following lists of citations from Plautus, 
 for in each list the citations refer to the front door of the same house: (1) 
 Mil.: foris concrepuit (154), fores crepuerunt (410), aperitur foris (528); 
 (2) Mil.: fores crepuerunt (270), foris (con) crepuerunt (328), aperitur foris 
 (1198); (3) Most.: hasce ambas foris (453), concrepuit foris (506), istas fores 
 (516), has fores (900); (4) Most.: foribus (829), foribus (854), foris concrepuit 
 (1062); (5) Bacch.: concrepuerunt fores (610); fores (723), forem (833), fores 
 (1118); (6) Bacch.: foris concrepuit (234), fores (798), crepuit foris (1057); (7) 
 Cas.: foris concrepuit (163), foris crepuit (874), concrepuerunt fores (936); 
 (8) Amph.: pultabo foris (449), crepuit foris (496), feriam foris (1019), fores 
 (1022), foribus (1026), istas fores (frag. v.). 
 
 In view of the evidence that has been cited and in view of the fact that 
 the plural (fores) occurs much more often than the singular (foris), it is likely, 
 if not probable, that the doors were usually in two pieces and that /ores must 
 be interpreted as indicating a double door. It is self-evident that the sin- 
 gular (foris) could refer to single doors, if there were any. It is obvious, how- 
 ever, from the above-quoted citations that, even if the singular (foris) to 
 the exclusion of the plural (fores), should refer throughout a play to the same 
 door, this would not be positive evidence that the door in question had but 
 one fold, for the singular (foris) may have reference either to the door as a 
 
 " See list in chap. IV, pp. 98 ff. The double door is shown in nos. 1, 2, 3, 4, 6, 7, 
 8, 9, 10 and 12. 
 
18 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 whole irrespective of its number of folds or to only one of the two folding 
 doors." It is probable that at OOpai. in Menander is to be interpreted in the 
 same way as fores. 
 
 ** That fores refers to a double door is the opinion of the following: Bliimner, Die 
 Rdm. Privataltertumer, p. 17; Martley, Hermathena IV, pp. 303 ff.; Sloman, Andria, note 
 on 1. 264; Ramsay, Mostellaria, note on II, ii. 23-25; Gray, Heauton, note on 1. 173; West. 
 Andria, note on 1. 580. 
 
CHAPTER II 
 Knocking at the Door in the Drama 
 
 It was usual among the Greeks and the Romans in their daily life for 
 one to knock before going into another's house. That this was the rule 
 among the Greeks is sufficiently obvious from these passages: Aristoph. Lys. 
 1065 ff. : eXr etao) ^adi^eLV, \ fJLr)8* epeadac jJLTjSeva, \ dXXd x^P^t^ avriKpvs \ cbairep 
 otKad' els lavTOiv \ yevviKcos, cos | rj dvpa — KeKX-paerai. Plut. Cimon 17: /cat yap 
 dvpav KoypavTos oKKorpiav ovk eloLkvai irpoTepov ?) tov Kvpiov KeKevffat. Plut. Moralia 
 516 E: KairoL iiri Koypavra ye dvpav €ts oiKiav oKKbrpiav ov vojil^eTai irapeKdelv. 
 
 The practice of knocking, so common in private life, is rarely reproduced 
 in the classical tragedy, there being only two instances, one in Aeschylus and 
 one in Euripides. In both places knocking is employed as a means of bringing 
 actors upon the scene from the house. As a substitute for knocking, the tra- 
 gedians, especially Euripides, often have a character summon someone from 
 the house by means of calling, though the calling may have been accom- 
 panied by •knocking, even when the text says nothing of the latter.^^ An 
 explanation of this frequent substitution of calling for knocking in the tragic 
 •writers may be that smnmoning a person from the house by the voice was re- 
 garded as more dignified than by making a noise upon the door. Certain it 
 is, at any rate, that knocking is reserved for occasions of great urgency or 
 excitement (Aes. Gho. 652; Eur. Iph. Taur, 1286 i.)P 
 
 The practice of summoning a person from a house by calling persists in the 
 comic writers along with the practice of knocking, but the latter is found 
 much more frequently than in the tragedians.^^ The plays of Aristophanes 
 
 12 Aeschylus: Cho. 881: Sophocles: Phil. 1261, Ajax 784; Euripides: Phoen. 296 ff., 
 1067 f., Orest. 112, Bac. 170, 912, Iph. Aul. 1, 863, 1532, Elec. 750, HeracUd. 642, Hec. 172, 
 Med. 894, Hel. 435; Seneca: Med. 843. 
 
 1' A less probable explanation is that it may be a tradition from an earlier period, 
 for Plutarch tells us that the Spartans did not knock but called out: Moralia 239 A: 
 Wos vp avTols nrjSk Koimtv ras avXeiovs, aXX* e^oidep fioav. 
 
 1* Calling: Aristophanes: Ach. 748, Eq. 725 ff.. Nub. 866 f., 1165, 1221, Pac. 179, 
 254 f ., Lys. 1106 f ., 1216, Eccl. 960 ff. ; Menander (Koerte's text) ; Jab. inc. p. 145, 11. 18 f . ; 
 Plautus: Aul. 349, Most. 339, Trin. 1174 ff., Men. 673 f., Ps. 1139, 1284, Rud. 481; Ter- 
 ence: Eun. 530, Heaut. 743, Hec. 720. Calling and knocking: Aristophanes: Ach. 403 f., 
 Nub. 132, 1144 f., Av. 56 f., Ran. 37 f., 460 ff.; Menander: Epitr. 535 ff.; Plautus: Amph. 
 1018 f.. Most. 445, 899 f., 936 f., 988, Poen. 1118 ff., Trin. 868 ff., Merc. 130 f.. Mil. 1297, 
 Bacch. 581 f., Capt. 830 ff., Ps. 604 f., Rud. 413 f., Stich. 308 f.; Terence: Ad. 633 f. 
 
 19 
 
20 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 have ten cases of knocking and in every instance it is used as a means of 
 bringing actors upon the scene. Meoander has three^^ instances, Plautus 
 twenty-one, and Terence two. These writers usually employ knocking as a 
 device for bringing characters upon the scene of action. In Plautus there 
 are some cases in which knocking results in neither the entrance of a charac- 
 ter upon the stage nor his exit from it. 
 
 Instances of knocking classified according to the effect on the ac- 
 tion.i« 
 
 I. Knocking brings a character upon the scene: Aeschylus: Cho. 652 
 (of. 561-569); Euripides: Iph. Taur. 1286-1304-1308; Aristophanes: Ach. 395 
 ff., 1072, Nuh. 132 ff.,1144. At;., 53 ff.. Ran. 37 f., 460 ff., Ecd. 34 (scratching), 
 976 f.. Pint. 1097 flf.; Menander: Eyitr. 535 ff., Per. 64, 182; Plautus: Poen. 
 1118 ff., Bacch. 578 ff., Rud. 413 f., True. 254 ff., Stick. 308 ff., Terence: Ad. 
 633 ff . 
 
 In a few cases a speaker intends to knock and call for a person, but the 
 action becomes unnecessary, as the desired character appears : Plautus : Poen. 
 728 ff., Men. 176; Terence: Heaut. 410 ff. 
 
 In Amph. 1019 f. Mercury, in the guise of Sosia, does not come out 
 when summoned by knocking, but appears on the house-top and attempts to 
 drive away Amphitruo, who has knocked (cf. Eur. Orest. 1567 ff.). 
 
 II. Knocking results in neither the entrance of a person upon the scene 
 of action nor the exit of a person from it. (a) The person wanted is already 
 outside, but the other does not know of his presence and therefore knocks: 
 Plautus: Merc. 130 f., Capt. 830 ff., Ps. 1121 ff. In two instances a person 
 knocks, pretending not to be aware of the presence of the person desired: 
 Plautus: Mil. 1254, 1297. (b) A third person intervenes, so that the in- 
 tended action is not accomplished: Plautus: Most. 445-521, 898 ff., 936-988, 
 Asin. 382, Ps. 604 f., Trin. 868 ff., Amph. 449, Men. 987. 
 
 THE VOCABULARTf OF KNOCKING 
 
 Let us now consider the vocabulary used in describing knocking. The 
 various verbs employed for this purpose will be discussed and such distinc- 
 tions as are apparent will be drawn. The frequency of the different words 
 will be noted only for the drama, since an exhaustive study of classical lit- 
 erature in general has not been made. 
 
 " Those in the fragments are not counted. 
 
 *• As already pointed out, in some instances knocking is accompanied by call- 
 ing. 
 
KNOCKING AT THE DOOR IN THE DRAMA 21 
 
 KowTeLV 
 
 The word most frequently employed in Greek comedy for knocking on 
 the front door is KowreLv. Aristophanes thus uses it ten^^ times and Men- 
 ander six.^^ This verb also occurs in this sense in Xenophon (Hel. 5. 4.7), 
 Demosthenes (47.57), Theophrastus (4.9), and Heliodorus (3.16). It seems 
 to be the only one used by Plutarch^^ to indicate knocking. 
 
 Kpoveuv 
 
 The verb that comes second in point of frequency for knocking is Kpoveiv. 
 In this sense it is found four times in the drama (Eur. Hyps. Oxyrh. 1. 4; 
 Aristoph. Eccl. 990; frag. 564 (Kock ii. Ades. 510) ; Posidip. 7 K). It is used 
 by Xenophon (Symp. 1-11), and seems to be employed by Plato to the ex- 
 clusion of all others {Symp. 212 C, Prot. 310 A, 314 D). Phrynichus^^ thinks 
 that KpoveLv is not so good a word as kottclv for knocking on the door. 
 Aristides^^^ {Rhet. p. 807, 441), however, defends both words. It is worthy 
 of note that Kpovecv is the only word used in this sense in the New Testa- 
 ment.2^ 
 
 It is reasonable to assume that, where KowTeLv and Kpovetv are used 
 alone, we are to understand the normal way of knocking with the knuckles. 
 On occasions the ancient Greeks used canes^^ and very likely similar things 
 for rapping on the door. Though they had knockers^^ there is but one ref- 
 erence to them in the drama (Eur. Ion 1612). 
 
 "Aristoph.: Ach. 403, Nub. 132, 133, 1144, Ay, 56, Ran. 460, 461, Eccl.97Q, Plut. 
 1097, 1101; Menander (Koerte's text) : Epitr. 538, Georg. 17, Per. 64, 182, frag. 124 (Kock 
 3.36), frag. 860-1 (Kock 2.229). 
 
 ^8 Solon 5, Poblic. 20, Cimon 17, Alcibiades 8, Pelopidas 9, 11, Aratus 17; Moralia 
 239 A, 594 E, 597 D, 633 A, 784 B. 
 
 ^^ S. V. kStttci}'. KpovcraL fih rriv dvpav, urcos irov Trapa^efilaffTai i) XPW''^- afieivov dk t6 
 KOTTTeiv T-fiv dvpav. Cf. also schol. ad Aristoph. Nub. 132. 
 
 20 See Schmid, Atticismus I, p. 206. 
 
 21 Math. 7.7, 7.8; Luke, 11.9, 11.10, 12.36, 13.25; Acts 12.13, 12.16; Rev. 3.20. 
 
 22 Plutarch Aratus 17: /cat KeKXeLa-jjLevrjv rrjv TrvKrjv evpobu ckotttc ry ^aKrplq. KtKebcav 
 &poiyeiv. Posidip. 7 K: KopaKi Kpoved' rj dvpa. 
 
 22 Homer 0(Z. 1*441: dOprjp 8' kirkpva-e Kopdovrj apyvpeij. Herod. 6*91: els 5e rts tovtcov 
 kK(t)vyd}v TO. dea-fia KaTa(f)€vy€i. irpbs irpodvpa ^■qp.rjTpos 9e<Tp.o(f)6pov, cTTiXa/x/So/iCJ'os 8k T<hv kirunra<r- 
 Trjpuv elx^To (where iirKnraa-Trjp is generally thought to have been used as a knocker as 
 well as a handle). Plut. Moralia 516 E: dXXa vvv n'ev e'un dvpcopoi, TrdXat 5^ pSirrpa Kpov- 
 dfieva irpos rats dvpats at(Tdr]aLV Trapelxe. Pollux 7*111: ols irpocrQeTkov 6tl fjv "Oixrjpos fxiv 
 etpriKc Kopoivrjv ol 8k vvv KopaKa, ovtcos 6iv6p.axre koI IIotretStTrTros kv, FaXdr^ eiirdiVy KSpaKi icXuerat 
 (1. Kpohed' ri) dvpa. Pollux 10*22: koI tTrlairaaTpov Kat powTpov. t6 y&p kTriKpovov t^jv dipav 
 ovTus ojvonal^ov. 
 
22 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 'AparreLV, Hpo<rapaTT€LV, 'EKKOwTiLV, AaKTl^eiv, UaUiv, JlaraaaeLV, Qkveiv 
 
 Violent knocking is expressed by the verbs just mentioned. The first 
 of these means to knock furiously and occurs only three times in the drama 
 (Eur. Hec. 1044, Iph. Taur. 1304; Aristoph. Ecd. 977). To dash against the 
 door with violence is indicated by TrpoaapaTTeiv and TraTaacreLv] only the latter 
 is found in the drama and this but once (Aristoph. Ran. 38). Such furious 
 pounding as to break open the door is indicated by eKKOTrreiv, which is not 
 used by the dramatic writers; it does occur in Lysias (3.6, frag. 75.5). 
 Aristophanes alone of the writers of Greek drama employs \aKTl^€Lv {Nub. 136) 
 and BkveLv (Av. 54), where rfiv Trerpav takes the place of riiv dvpav. To strike 
 the door with vigor is denoted by iraUiv and it is found but twice in the 
 drama (Eur. Or est. 1221; Men. Epitr. 535, here for the sake of the pun with 
 Tai6cs). 
 
 Vevuv, Opvyovav 
 
 Two comic substitutes for KOTTeiv, employed by Aristophanes, are 
 ytveii^ {Ran. 462) and dpvyovav^ {Ecd. 34); the latter apparently implies 
 scratching with the nails. 
 
 PULTARE, PULSARE 
 
 The two verbs most frequently used for knocking in Latin writers are 
 pultare and pulsare.^^ Pultare occurs much more often in the Roman drama 
 than pulsare. Plautus uses pvltare'^'' thirty-four times, pulsare twice {Rud. 
 332, Bacch. 579), pulsatio once {Bacch. 583), and pultatio once {True. 258). In 
 Terence pultare alone is found and it occurs but four times {Heaut. 275, 410, 
 Ad. 633, 637). Pulsare is also found in one comic fragment (Ribbeck I. 
 249.53) and is used by Seneca {Here. Oet, 606) in the only instance of knocking 
 
 "Schol. ad loc: yeveiv: &vtI tov fi^ai. Thos. Magister S. v. kottco: K&irTeL t^p dvpav 
 t^(od€v Kal y€{>€Tai rfjs dbpa^. 'ApuTTO(f>avrjs iv Nc<^eXois: ' tis Icrd' b K6\f/as t^ dvpav]*' koI 
 ToXtv {iv T<^ a{rr<^)ytv<Tai Ttjs dvpas. 
 
 **Schol. ad loc: dpvyovuxra: ifavxtas Kvuaa. 
 
 '• In Keil's Grammatici Latini (V, pp. 626, 651), Macrobius makes this distinction 
 between the two: " 'pulto' sunt qui accipiant pro eo quod est 'pulso' et 6.TTtKUTn6v 
 quendam latinitatis existimant, ut apud illos d&Xaaaa daKarTa, TrXdo-aw TrXdrTw; sed 'pul- 
 tare' est saepe 'pulsare,' sicut 'tractare' est saepe 'trahere.' " 
 
 " Men. 178, 987, Ps. 604, 605, 1121, Stick. 308, 310, 313, Trin. 868, 870, 871, Capt. 
 830, 831, 832, Mil. 1254, 1297, 1298, Bacch. 578, 581, Most. 403, 445, 453, 456, 457, 462, 
 898, 936, 988, Poen. 728, 729, 739, 1120, Amph. 449, Asin. 382. 
 
KNOCKING AT THE DOOR IN THE DRAMA 23 
 
 found in his dramatic works. Outside the Roman drama, puttare does not 
 seem to be used.^^ In all likelihood, pultare and pulsar e, like KoirTeiv and 
 KpovHv in Greek, ordinarily imply the normal method of knocking with 
 the knuckles; at times both the feet and the hands were brought into vigor- 
 ous action.2^ 
 
 FRANGERE, ARIETARE, INSULTARE, VERBERARE 
 
 Violent knocking is indicated hyfrangere or one of its compounds. These 
 occur eleven times in the drama and all eleven instances are found in Plautus.^^ 
 These words imply such vehement knocking as to break down the door and 
 very probably mean that both the clenched fist and the feet were employed 
 in the operation. Arietare, insuUare, and verherare also refer to unusually 
 violent knocking. The first of the three words means to "butt like a ram'^ 
 (i.e., to throw the body forcibly against the door), and is found but once in 
 the drama (Plant. True. 256). Only once does insultare occur (Ter. Eun, 
 285) and, as it is accompanied by caldbus, probably implies leaping against 
 the door with both feet. Verberare^^ means to beat vigorously upon the door 
 and is thus employed but once in the drama (Plant. Asin. 387). 
 
 FERIRE, PELLERE, IMPELLERE, PERCUTERE 
 
 Other verbs employed by Latin writers for knocking on the front door 
 are ferire, pellere, impellere, and percutere. Of the dramatic writers, Plau- 
 tus alone uses ferire and he does so only four times {True. 254, Amph. 1019, 
 Men. 176, Ps. 1135). Only twice does pellere occur in the drama, once in 
 Plautus (Amph. frag. V.) and once in Terence (Ad. 638). Impellere is iound 
 in Trabea (apud Cic. Tuse. 4.67) and, as it is accompanied by digito, it must 
 here imply tapping (cf. Ter. Eun. 284: uno digitulo fores aperis). Percutere 
 is found two times in Plautus {Most. 516, 521,) but not elsewhere in the 
 
 ^^ Pulsar e, not pultare, is used by Propertius (4.5, 47), Horace {Sat. 1.1.10, Carm. 
 1.4.13), Ovid {Met. 5.448), Seneca {De Ben. 6.33.4), Petronius (16.92), Statius {Silv. 
 1.2.48), Quintilian (5.10, 122), Martial (10.19.13), Apuleius {Met. 1.22, 9.20), Tertullian 
 {Apol. 20), Ambrose {Serm. 12.4), New Testament {Math. 7.7, 7.8; Luke, 11.9, 11.10, 
 12.36, 13.25; Acts 12.13, 12.16, Rev. 3.20). 
 
 29 See Plautus Stick. 311, Most. 456, Capt. 832, Bacch. 579, Asin. 384. 
 
 30 Bacch. 586, Most. 453, 456, 939, Poen. 729, Amph. 1022, 1026, Asin. 384, 388, 
 Stich. 326% 327. 
 
 31 Verberare is thus used by Apuleius {Met. 1.22, 9.20) and in one passage (9.20) 
 is accompanied by saxo. 
 
24 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 drama. This verb,^^ [[y^Q jerire and pellere, seems to indicate giving the door 
 a sharp rap. 
 
 In the extant Roman drama there is no reference to knockers, though it 
 is obvious from the excavations in Pompeii^ that they must have been well 
 known among the Romans. There is some indication that bells^^ were 
 attached to house-doors. 
 
 "For percutere thus used see also TibuUus (1.5.68: plena many), Livy (6.34.6: 
 virga), Petronius (16.65), and Pliny {N. H. 7.112). 
 
 " See Bliimner, Die Rom. Privatalter turner, pp. 19 f . 
 
 "Suetonius, Aiig. 91; Marquardt, Privatleben p. 236; Becker-Goll, Gallus II, p. 
 236. 
 
CHAPTER III 
 
 Knocking at the Door before Coming out of the House 
 
 It was considered proper for a person, who desired admission into an- 
 other's house or to summon a person from another's house, first, before open- 
 ing the door or entering, to announce his presence by knocking at the door or 
 by caUing out. As we have seen, the proprieties in this matter were consist- 
 ently observed both in private Hfe, as reflected by the literature, and in the 
 representation of private life on the stage. The case is altogether different, 
 however, when a person is about to come out of a house either his own or an- 
 other's. Such a custom would have no point, in the case of a private house, 
 unless the door opened outwards upon the public highway, so that the pas- 
 sers-by might, if not warned by a knock or a call,* come into collision with the 
 door and be injured. In the case of the theater, however, there would be no 
 such danger of accident if an outward-swinging door were suddenly thrown 
 open by a person about to issue from the house. The actors, who might be in 
 front of the house, knew in advance the whole course of action and, there- 
 fore, would need no warning. If the custom of knocking before opening the 
 scene-door for entrance upon the stage was ever in vogue, the explanation 
 for it must be either that this was a realistic representation of the manners 
 of daily life or that knocking served some dramatic purpose. 
 
 It is necessary for the student of the Greek and Latin drama to inquire 
 into this question for several reasons. In the first place, we have definite 
 statements of Plutarch and Helladius to the effect that in comedy persons 
 about to leave a house knocked and caused the door to make a noise for the 
 purpose of giving passers-by a warning that they were coming out. In the 
 second place, it is possible that the explanation, which the lexicographers and 
 the scholiasts to Aristophanes give of \po(f)eLv, the specific word used for 
 the noise made with the door by a person about to issue from it, requires 
 the same interpretation. Finally, the transitive use of the word xf/o(f)€lv may 
 indicate an intentional knock. 
 
 The passages in Plutarch and Helladius are as follows: Plut. Pohlic. 20 1^^ 
 TU)v 5'aXXcoj/ Tore dvpCiv etao) ttJs oktas els to Kketalov avoLyo/Jikvcov, eKelvrjs fiovrjs Trjs 
 
 35 We shall later (pp. 44-91) refer to the statements of Dionysius of Halicarnas- 
 sus, Pliny the Elder, and Asconius about the house of Poblicola. 
 
 25 
 
26 HOUSE-DOOR ON THE ANCIENT STAGE ^ 
 
 oiKLas kiroirjaav €Kt6s ATrayecrdaL rrjv avXeiov, cos drj Kara to avyx^PW^ t'H^ tljjltjs 
 aei Tov Stuioctlov irpoaeTrCkayL^OLVOL. rds 5' 'EXXT/i'txas irpoTepov outcos 'ex^i-v airdaas 
 \eyov(n, diro KOJiiodbLOiv \ap,^dvovTes, otl KoirTovai kol \po<f>ovaL rds avrcbv dvpas evdodev 
 ol TTpoikvaL fik\\ovT€S, OTTCOs aLadr](TLS e^oi ykvoLTO rots irapepxoiievoLS ^ irpoearciidL /cat 
 liri KaraXafi^dvoLVTo irpoLOuaaLS rats KXetaidaLV ets tov (TTepwirov^ Hellad. apud 
 Phot. Bibl. Cod. 279: otl <f>r}(Tl tovtov x^-pt-v kowtovcti irapd toIs kc^hlkoIs ol e^tovTes 
 rds dvpas, 8l6tl ovx, cos Trap' ripZv vvvl, to TraXatof di'eco7WJ'ro at Supai, dXX* kvav- 
 rtco TpoTU). €^co^€»' ydp aurds dvaTpkirovT^s, evdodev e^fiecrav. irpoTepov be ttj x^tpt 
 \{/6<f>ov eiroLOVV KpovovTes eirl tu) yvoivai tovs eTTt rcoi' ^upcoj' fcat <f)v\d^aadaL firj TX-qyels 
 c<7rcos y^rjdfi tcov dvpicv ddoviievoiv a(f>vo). 
 
 Plutarch and Helladius agree in every particular, but the form in which 
 the lexicon-article of the latter is cast betrays the nature of the antiquarian 
 note in Plutarch and its probable source. Helladius' note is an anwer to the 
 question 5td rt k6xtov<tl irapd rots KOifiiKols ol e^LovTes rds dvpas; The reader of 
 the comic texts could hardly fail to raise this question, for he observed that 
 the poets not only frequently cause their actors to comment on the noise 
 made by or on the door at the entrance of a character from* the house, but 
 also that occasionally a verb is used which could be interpreted as meaning 
 knocking, e.g. xf/oipelv transitive, TrXijTTeLv, pellere. If he interpreted these 
 passages as implying or positively evidencing an intentional knock, he 
 would wonder why such knocking was customary on the stage, for it was 
 not practiced in everyday life. The explanation given by the commenta- 
 tors, of whom Helladius is an example, is that the stage-door opened out- 
 wards — a fact not so readily observed by the casual reader — and that 
 this way of opening the door, as well as the practice of knocking before 
 coming out, was a survival from an earlier time, when the doors of private 
 houses opened this way and the practice of knocking had a practical 
 purpose. 
 
 This explanation was current before the time of Plutarch, who acknowl- 
 edges his source to be the commentators on comedy — Veyovai . . . dTrd to3v 
 Koj/juaSubv \ap.^dvovTes — and this was also the source of Helladius' note. Plu- 
 tarch and Helladius are but one witness. We shall find in the scholia to 
 Aristophanes further traces of the same interpretation of the passages in 
 comedy to which we have referred.^* 
 
 »• That Plutarch was familiar with the current antiquarian learning of his day has 
 been shown by Blass, Siefert-Blass, Plutarch, Them. u. Per. Einl. p. 65. He knew the 
 scholia to Plato and the comic poets and made free use of Didymus. It is not improb- 
 able that Didymus is here his authority and that of Helladius. It is to be observed, 
 further, that the passage in Plutarch is a digression and has a marked scholiastic flavor. 
 
KNOCKING AT THE DOOR BEFORE COMING OUT OF HOUSE 27 
 
 We turn now to the scholia that are preserved in which the implication 
 is found that in comedy a person, who was about to leave the house, usually 
 knocked on the door. We shall see that this interpretation probably arose 
 from the transitive use of \f/o<f)elv, for example in the phrase k\l/6cl)r]K€ rrjv dvpav 
 TLs e^LOJv which the scholiasts quoted from Menander. We observe, also, 
 that no explanation of the supposed custom, such as that proposed by the 
 source of Plutarch and Helladius, is attempted. One of the notes on 
 Aristoph. Plut. 1097 (preserved only in Diibner's 9) states: KOTrret rts ttjv 
 Bxjpav, oTav e^o)d€v Kpovrj' \f/o4>el, orav eacodev. A strict grammatical construc- 
 tion of these words would require that the same verb be suppHed with the 
 second clause as with the first, viz.: orav e^oidev Kpovy and orav Icrosdev (kpov^). 
 The same is true of the schoUum ad Nub. 132, repeated in Suidas, s. v. 
 KOWTtt}'. TapaTTjprjTeov 8e otl ctti jiev to)v e^oidev KpovbvTOiv 'KOirreLv' XeYcrat, kwl 8k 
 TOiv eacodev *\po<f>€lv'. t/cai'cos 8e StecrretXe M.€vav8pos, kirl fiev tcov e^co, Koxpo) ri]v 
 dvpav^^ eiTTOiv, eirl 8e tojv eo-co e\l/6<j)r]Ke rrjv dvpav (rts) e^tcoj^." Here Kpovovroov 
 would naturally be supplied in the second clause of the first sentence, viz.: 
 €7rt fxev TOiv e^codev KpovovTcov and kwl 8e tCov ecoiSev (kpovovtccv) . 
 
 The illustration of \l/o<t)elv which this note gives is noteworthy. No 
 mention is made of the intransitive use, 17 dvpa \l/o<f)€l, but only of the transi- 
 tive use, which we find only in Menander. It was this transitive, or rather, 
 as we should say, causative, use that brought out the interpretation of inten- 
 tional knocking. The alternative meaning, ''caused the door to creak by 
 opening it," is ignored; but it appears in another set of notes, to be discussed 
 later. 
 
 The idea of intentional knocking may possibly be conveyed by Donatus' 
 note to Terence Ad. 788: quisnam a me pepulit tam graviter fores? "Tam 
 graviter quia irati omnia concita faciunt. cum pulsandae fores exituro foras, 
 Demea sic eas pulsavit, ut et his ipsis irasci videretur." In explaining the 
 partifcular instance, pepulit tam graviter fores, Donatus makes the general re- 
 mark pulsandae fores exituro foras. At first view, this seems in' harmony with 
 the last two scholia to Aristophanes which we have quoted and with Plutarch 
 and Helladius. These four or five passages have furnished the warrant for 
 the belief of some modern scholars^^ that \po4)elv and its Latin equivalent 
 
 Dionysius of Halicarnassus, PUny the Elder, and Asconius, who also mention the ex 
 ceptional honor shown to Poblicola, do not indulge in a learned excursus upon the Greek 
 private home. 
 
 '^ See, for example, Ernesti on Mil. 11, i. 76 (quoting Muretus); Stallbaum on 
 And. iv.i. 58 (1. 682); Sloman on Phor. 1. 840; Parry on And. iv.i. 58 (1. 682); West 
 on Heaut. 1. 173; Crowell on And. 682. 
 
28 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 crepare-concrepare, as well as pellere, connoted a noise made intentionally by 
 persons about to enter the street from the house, as contrasted with the view 
 of others,'^ that the noise indicated by these words was made incidentally by 
 the door itself when opened and that these words had acquired a special 
 meaning in this connection. 
 
 Another set of notes, to which we have referred, deals exclusively with 
 the same transitive meaning of ypo4>tlv. But they either (1) simply set \po<f>€lv 
 in contrast with KoirTav from the point of view of the agent, without any 
 suggestion that an intentional noise is made by the" outcoming person, or 
 else (2) they make it clear that the noise is incidental to the opening of the 
 door. We give the notes in this order: (1) Schol. ad Luc. Pseudosophistes 
 9: \l/o<i)olT[i : KOTTTeL ixiv yap rriv Bvpav tls ccrcos e^o), \po(f>d 5^ 6 eco). Thos. 
 Magister, s. v. /c6xra): KdirTei Trjv dvpav e^o)dev /cat yeverai ttjs dvpas 'ApL(TTO<f)avrjs 
 h N€<^eXats: ' rls tad' 6 KcnJ/as Trjv dvpav;'' /cat TraXti' {h r^J avrco) ^'yevaaL 
 TTJs dvpas^ \po<i>d jikvTOL tvhodev, ov Kporel. Moeris, s. v. kotttcj: /coTrret T-qv 
 dvpav e^ojdev, \po<f>el 8^ 6 evdoOev, 'Arrt/ccos. Kporel dk 'EXXr/i/t/ccos. (2) Schol. ad 
 Aristoph. Plut. 1097 (preserved in two of the MSS., Dubner's F and B): 
 6 K6\f/as: 6 Kpovaas. kottthv, \J/o<f)elv, /cat KKav(nq.v t7]v Bvpav bia<f>kpei' k6tt€lv fiev 
 yap XkyeraL, orav elaikvaL tls p-eWiJ, Kal Trjv dvpav e^codev Tr\r}TTri- cos to, 'Vts 
 iffd' 6 Koypas T-qv dvpav]'' \l/o<t)elv 5e, oTav e^epxofJ-evos rts avTtjv VTavolyjj Kal rixov 
 TLva ciTroreX^. 6 tolovtos yap rjxos fj TpL<jpx>s Wav(nq.v' \kyeTaLP It is implied 
 in the words viravolyQ Kal rixov Tiva airoTeK^ that the ijxos rts, the \f/6<l)os con- 
 noted by the verb \f/o<l)elv, is caused, not by any intentional blow on the door, 
 but by the moving of the door itself, just as the movement caused by the 
 wind produces another sound, Tpitriibs, connoted by the verb K\av(nq.v, 
 
 Another passage to be discussed in this connection is Lucian's Pseudo- 
 sophistes 9 : /cat €t rts ye vvv \J/o<t>ol'[i rijv dvpav elawv rj e^idiv kotttol, tI <f)r)(TopL€v at 
 ireirovdkvaL; S. kjik fUv ovbkv, eKelvov 5k kireLaeXdelv ^ovXeadai rj k^uevaL. L. ak 81 
 iyvoovvTa rov KOirTOvra rj \l/o(f)OvvTa ovbh oXcos TreirovdevaL do^ofiev airaldevTOV 6vTa; 
 From this passage there may be drawn the inference that, if the writer could 
 put into the mouth of even an ignoramus such a phrase as kotttol T-qv dvpav rts 
 k^LQjv, this very fact proves the currency, at least among the uneducated, of 
 this incorrect phrase, and that, if K&n-TeLv could thus be substituted, even im- 
 properly, for \l/o4>elv, an intentional knocking is implied for the latter. We be- 
 lieve, however, that this would be an incorrect inference. In the first place, 
 
 '• See, for example, Becker, Charicles (Eng. Trans.), p. 54, note 32; Tyrrell, Mil. 
 note on I. 154; Elmer, P/ior. note on 1. 840; Shuckburgh, Heaut. note on 11. 173 f.; 
 Croiset, Minandre Varbitrage, note on 1. 380; Ashmore, note on Ad. 264. 
 
 " V. and r. have no note on k&kt€iv here. 
 
KNOCKING AT THE DOOR BEFORE COMING OUT OF HOUSE 29 
 
 no instance is to be found in Greek literature, so far as we know, of this 
 barbarous use of kotttuv for \l/o4>dv.^^ In the second place the author of the 
 Pseudosophistes intentionally selects preposterous instances of an illiterate 
 man's deviations from correct usage. One of these is the incorrect use of 
 KOTTeiv for \po4>dv. UnHke some of the other blunders which he instances, 
 this one never makes its appearance in extant literature. 
 
 GENERAL MEANING OF \l/0(pelv AND CREPARE-CONCREPARE 
 
 Before we can ascertain the exact meaning of \l/o4)elv and crepare-con- 
 crepare when used in connection with the opening of the door, it is necessary 
 first to learn their general meaning. The Greek passages quoted below dem- 
 onstrate the truth of Aristotle's statement {De An. 2.8.11, 2.8.15; Hist An. 
 4.9.5; 4.9.8) that ^o<l>dv may in general refer to an inarticulate noise of 
 any kind. The same is true of crepare-concrepare, as one can readily see from 
 the Latin passages, also quoted below. Thus it is obvious that \l/o(j>eiv and 
 crepare-concrepare, so far as their general meaning is concerned, may with 
 perfect propriety indicate either the noise of actual knocking or such a sound 
 as would be produced by the creaking of a door or of the grating of the door 
 on the sill. 
 
 Sophocles: Frag. 58 (Nauck): iravTa yap tol raJ (f)o^ovfJLevc^ \po(f)ei. Ich- 
 neutae 136 if. {Frag. Trag. Papyr. ed. Hunt) : aKovaov av tov xpw^tos xpovov 
 TLva, I otw V7rXa7e^res kvdab' e^evlafi^a \ ypb^oo tov ovdels ttcottot' ^Kovaev ^porcov 
 (the sound of the lyre), and 160 ff.: el nrj 'vavoarrjaavres e^tx^'euo-ere | tcls jSoDs 
 oTTXi ^e^dcTL Kal tov ^ovkoXov, I K\alovT€s avTy 8ei\la \l/o4>r](TeT€. Euripides: Bac. 
 638: \f/oct)eL yovv ap^vKrj dofucv eo'co. Orest. 136 f. : co ^iXrarat yvvalKes, rjcrvxoi 
 TTodl I x'^P^^T^j P-V i^o4>eXT€. Aristophanes: Pac. 612: k\l/6(f)r](Tev afxireXos. Ach. 
 653:Tv\o3v\f/o(f>ovvTCt)v. Xenophon, ilna6.4-3-29: €7r€t5ai^ . . . (T(f>ev86vr] e^iKVTJTaL 
 Kal aairls ^o^fj. Plato: Rep. 396 B: TOTafxovs \f/o(i>ovvT as. Crat. 430 A: \f/o(j)elv 
 ey<i)y' av 4>air}v tov tolovtov, ^cLTrjv avTov eavTOV KLVOvvTa &air€p av el tl xaX/ceZoi' 
 KLvqaeie Kpovaas. Strabo 14-21: cios 5' 6 kci)8cov 6 /cara ttiv 6\poircc\lav e\l/6(f)7}(Te 
 . . . rjdrj yap 6 k6}8o3v e\l/6(f)7}Ke. Lucian: Philopseudes 15: eKelva fxh yap rjv \f/6(f)ov 
 kKovdxi xctX/cou fi (ndripov, Tre(f)evye — Kal raura yap vfiels (f>aTe — avTrj 8e, tjv apyvpiov 
 
 *°The phrase in Plut. Poblic. 20, quoted above, ort k6ttoxxti Kal \f/o<t>ov(Tf, ras ain-wp 
 dvpas tcoidev oi irpoikvai fieWovres, cannot be instanced as a case of the same blunder if 
 the explanation which we have offered of this notice is correct. The source of Plutarch 
 merely asserts that outcoming actors "knock," but without implying that a comic poet 
 or anybody else could properly use Koirretv instead of \po(f>elv with reference to his action. 
 
30 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 Tov \l/o(f>if epx^rai Tpos t6p rixov, Gallus 29: l5oi) ttoKlv epb4>r]Kk ns. ex' e/xe 
 drjXajSrj. (The context shows that the noise was made by the spade of the 
 TOLX(fipvxos. For a similar case, see Plaut. Aul. 242 f.). 
 
 CREPARE 
 
 Plautus: Men. 925 f.: die mihi, en mnquam intestina tibi crepant, quod 
 sentias? | ubi satur sum, nulla crepitant: quando esurio, turn crepant. Aul. 
 239 ff. : Euc. sed pro Juppiter, | num ego disperii? Meg. quid tibist? Euc. 
 quid crepuit quasi ferrum modo? I Meg. hie apud me hortum confodere 
 iussi. (Cf. Lucian's Gal. 29). Ovid, Fasti, 4.742: et crepet in mediis lau- 
 rus adusta focis. Seneca: Ep. 9.8: cum primum crepuerit catena dis- 
 cedit. Here. Oet. 1016: sed quid hoc? tellus labat et aula tectis crepuit ex- 
 cussis. Pliny, N.H. 36.11.4: lapidem in statua Memnonis quotidian© solis 
 ortu contactum radiis, crepare dicunt. Martial 3.82.15: digiti crepantis 
 signa novit eunuchus. 
 
 CONCREPARE 
 
 Cicero, Gael. 27.65: scabilla concrepant. Caesar, B.G. 7.21: conclamat 
 omnis multitudo et suo more armis concrepat. Ovid, Fasti 3.740 : Aeriferae 
 comitum concrepuere manus. Petronius, 27.5: Trimalchio digitos concrepuit. 
 
 MEANING OF \J/0(f>eLV AND CREPARE-CONCREPARE WHEN USED IN CONNECTION 
 
 WITH THE DOOR 
 
 It is the writer's belief that \l/o(l)elv and crepare-concrepare, when used 
 in connection with the opening of the door by one coming from the interior 
 of the house, do not indicate any intentional knocking, but that the noise 
 implied in them is to be ascribed to the grating or creaking sound produced 
 by the opening of the door. The following passages show that such sounds 
 were to be expected: 
 
 GREEK 
 
 Aristoph. Plut. 1097 ff.: As etrd* 6 kottccv tyjv dvpav; tovtl tI fjv; \ ovdeh 
 loLKiv. dXXd br\Ta t6 Ovpvov \ (f>deyy6fi€vov dXXcos icXauo-t^L. Hermes, having 
 knocked on the door, immediately concealed himself. Carlo opened the 
 door, and seeing no one concluded that the door made the noise of its own 
 accord. Arist. De Aud. 802 b, 41 : dixoixas 8^ tovto avfjL^alveL /cat irepl rds <f>o)va$ 
 Kal Tovs \f/64>ovs. <f>avepdv 8' kaTiv. iravTes yap ol /Statot yiyvovTai aKkrjpol, KaSaTrep 
 Kal tCjv KL^iorioiv Kal aTpo<f>ko)v, brav avolycavTaL /Staicos, Kal tov x^^^^^^ 1^0.1 tov 
 avbi]pov. 
 
KNOCKING AT THE DOOR BEFORE COMING OUT OF HOUSE 31 
 
 LATIN 
 
 Plautus: Cure. 93 f.: viden? <ut> aperiuntur aedes f estivissumae : | 
 num muttit cardo? Trin. 1123 : fores hae sonitu sue mihi moram obiciunt in- 
 commode. Mil. 1377: sonitum fecerunt foris. Cas. 434: audio aperiri fores. 
 Bacch.79S: audio aperiri fores. Pacuvius, Dt^Z. (Ribbeck 1.92.12): quidnam 
 autem hoc soniti est, quod strident foris? Ennius, Androm. Aech. (Ribbeck 
 2.25) : saeptum altisono cardine templum. Gracchus, Pel. and Atab. (Ribbeck 
 1.2.30) : (a) sonat impulso regia cardo. (6) grata cardo regium egressum in- 
 dicans. Vergil: Cms 222: marmoreo aeratus stridens in Umine cardo. Aen. 
 VI, 573 f . : turn demum horrisono stridentes cardine sacrae | panduntur por- 
 tae. TibuUus, 1.2.9 f.: ianua iam pateas uni mihi victa querellis, | neu fur- 
 tim verso cardine aperta sones. Horace, Sat. 2.6.111 f.: cum subito ingens 
 I valvarum strepitus lectis excussit utrumque. Ovid, Amor. 1.6.49 : verso sonu- 
 erunt cardine postes. Seneca, Med. 177: sed cuius ictu regius cardo strepit? 
 Servius ad Verg. 1 .449 (foribus cardo stridebat aenis) : stridebat aenis ad sua 
 rettuUt tempora, cautum enim fuerat proditum hostibus a Tarpeia virgine 
 CapitoHum, ut aerei cardines, quorum stridor posset aperta ostia omnibus 
 indicare. 
 
 The following passages show that the creaking sound produced by the 
 opening of the door might on occasion be prevented by pouring water on the 
 hinges or by opening the door with care. 
 
 GREEK 
 
 Aristoph. Thesm. 487 f. : eyco de /caraxeao-a rod (TTpocjykojs vScop \ k^TJXdov o)s 
 Tov iJLOLxov. In this passage a woman tells how she outwitted her husband 
 one night and slipped out of her house to meet her paramour. To accom- 
 pHsh her purpose more easily, she 'Vet the huige, to still its creaking 
 noise." Lucian, Dial. Mer. 12: ovk eKoiJ/a 5' ovv, dW ewdpas rjpkfia ttjv dvpav 
 . . . irapaydiv tov arpocfyea irapriXdov CL\l/0(j)r]TL 
 
 LATIN 
 
 Plautus: Cure. 158: placide egredere et sonitum prohibe forium et crepi- 
 tum cardinum. 1. 160: Mane, suffundam aquolam. Baech. 833: Forem 
 hanc pauxillum aperi: placide, ne crepa. 
 
 So far in this chapter we have shown (1) that \J/o<f)elv and erepare-eon- 
 crepare may refer to an inarticulate noise of any kind and (2) that it was a mat- 
 ter of course that the door, when opened, made a grating sound, unless special 
 
32 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 precautions were taken. We are now in a position to discuss the specialized 
 meaning of these words when used of the door, and we shall first treat those 
 passages in which they are employed in connection with the entrance of a 
 person into the house. 
 
 }l/0<f)€lv 
 
 Euripides, Here. Fur. 77 f . : davfxa^ciiv 8' orav \ TruXat \l/o(l>ooaL, irds aviaTriaLV 
 TToda, I cos TTpos irarpi^ov TrpoairecroviJLevoL yovv. In this passage Megara relates 
 how she and her children sat in the women's apartments, and awaited Hera- 
 cles' return. She says that, whenever they heard a noise at the door as of 
 some one coming in or going out, they thought that it was Heracles return- 
 ing home. The fact that \l/o<f)€lv is used intransitively in this passage and 
 the unlikelihood of Heracles knocking on his own door go to show that the 
 noise indicated by ^o<^€tj/ is the grating sound made by the door when 
 opened. 
 
 Euripides, Iph. Taur. 1037 f.: rls ayL4>l Schfia ded^ t68' Urriffiv ^otjv, \ TruXas 
 Apa^as Kal \f/6(f>ov irefixl/as e<Tco ; The messenger calls to Thoas to come out of the 
 temple. The noise \l/6(f>os is due to the vigorous hammering given the doors 
 by the messenger. 
 
 Aristophanes, Av. 53 ff.: Eu. elaofieda 8' avriK, rjv TroLr](T(afiev \f/6<}>ov. \ Peith. 
 AXX' olad' 6 8pd(Tov; rco (r/ceXet deve Trjv Trkrpav. | Eu. av 8k rfi K€<l)a\'p y', tv' fj 
 8L7r\daLos 6 4/6<f>os. \ Peith. <tv 8' ovv \Wu) Koypov Xa^dcv. This is a case of actual 
 knocking, with a hint that Peithetaerus' head is hollow and will contribute 
 to the \l/6<t>os. 
 
 Heliodorus, 1-17: "exw <7€," elwev, "o) deols exOpa.'' Kal rj eia^r} irapa- 
 XPW^) ravra Xkyovros, rds re Ovpas cos otl TrXelcTTOV €\l/6<l)r]K€, Kal "& ttJs aToirlas, 
 8La8e8paKev fifids 6 plolxos," ave^&qatv. Thisbe remains at the street-door, and, 
 when she hears her master cry out in the bed-chamber, causes the door to 
 grate or make a noise as if violently opened for the escape of the supposed 
 adulterer. 
 
 Heliodorus, 3-16: GDttco 5^ iftiepas olkpl^ois viro<f>aLVovcrr)s, k)l/6(f>€L re if /ierauXos, 
 Kal TLVos ^addnrjv KaXovvros 6 TraL8iov. epofxhov 8k tov virrjpkTov rts 6 k&tttccv Trjv Bvpav 
 rj Kara irolav rriv xpc^ai', '*d7rd77cXXe," direv 6 Ka\(bp, "on Qeayevrjs 6 9€rraX6s." 
 i^adriv 6LTrayyt\BkvTa /tot t6v veavlav, Kal daKoKdv heXevov. Theagenes both 
 knocked and called for admission, and the noise made by the knocking was 
 denoted by \l/o<f>€lv. 
 
 C. 7. G. III. 5194b: dXX' k4/b4>riKt f>bTra\ov. \ ii Ovpa irpoKarkxirai. Kpoverai 
 abrbi. This inscription, found at Cyrene, is given as emended by the edi- 
 tor, who gives us this information: in necropoli in pariete antri inter pic- 
 
KNOCKING AT THE DOOR BEFORE COMING OUT OF HOUSE 33 
 
 turas insigni arte factas; repraesentatio videretur ad ludos pertinere. We 
 have a case of actual knocking in \l/o<l)elv, done with the poToXov, 
 
 CREPARE 
 
 Plautus, Bacch. 833 : forem hanc pauxillum aperi : placide, ne crepa. The 
 speaker, who is outside the house, wishes to give his companion a view of the 
 interior. Since the utmost caution is taken to open the door without making 
 a noise, crepare can only refer to the creaking usually, made by the door when 
 opened.^^ 
 
 Let us now consider those passages in which \l/o(pelv-\p6<l)os and cre~ 
 vare-concrepare occur in connection with the opening of the door by persons 
 coming out of the house. 
 
 Lysias, 1-14 and 17: epojikvov 5' e/zoD rl at dvpau vvKTcop ypoipdlev . . . ctj^a- 
 fXLp.vrjaK6fJLevos de otl ev eKelvrj rrj vvktl e\p6(l)eL rj iieravKos dvpa /cat 17 avXeios. It 
 was to the interest of the person who left the house during the night to do so 
 as secretly and quietly as possible. Hence, \f/o4>elv can only refer to the creak- 
 ing sound made by opening the door. 
 
 Aristophanes, Ran. 603 f. : cos aKovoj \ ttjs dvpas koI di] \l/6(f>ov. Xanthias- 
 Heracles braces himself for the test which will take place when the dvpoipos 
 comes out of the house. If there were any evidence in this passage or the con- 
 text that the door-keeper gave intentional warning of his coming by knocking 
 or otherwise, such a noise would properly be referred to by \l/6(f)os. But 
 there is nothing to indicate such a warning noise, and indeed it was to the in- 
 terest of the door-keeper to come out upon the intruders suddenly. On the 
 other hand, it is equally true' that the passage, taken alone, cannot be said 
 to prove that there was no intentional knocking. In view of the fact however, 
 that there is no evidence in any other passage to support the doctrine that 
 actors, about to issue from the house, gave an intentional knock before open- 
 ing the door, it is more reasonable to interpret ^60os in this passage as we 
 were required to interpret xf/ocfyelv in the two passages from Lysias. 
 
 That this is the correct interpretation seems obvious from a passage in 
 Aristophanes, Vesp. 142 f.: Bd. ai'a^ UocreLdov, rl tot ap' ri Kairvr] \po4>d', \ ovtos 
 tIs el (TV] Phil. Ka-Kvbs eyoiy' e^epxofJLat. Bdelycleon, Sosias, and Xanthias are 
 on the scene and are trying to keep Philocleon from getting out of the house, 
 while the latter is endeavoring by any and every means to elude them. Bdely- 
 cleon's attention is drawn to the chimney by a rumbling sound he hears there, 
 and he sees Philocleon issuing from the opening. We cannot possibly assume 
 
 ^^ Concrepare is not found thus used. 
 
34 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 that the noise made by Philocleon in the chimney was intentional; and yet 
 the phrase ii kcltpt) \f/o4>€l is apparently in every respect a comic parallel to 
 the phrase commonly used for announcing the entrance of a person from the 
 house, 1^ dvpa }f/o<f>€l. Therefore, when only this phrase, or its equivalent, is 
 used, we are bound to interpret it in the same way. 
 
 Menander: Sam. 222: dXV "AiroWov, ii dvpa t6l\lv \po<l>€l. Per. 426: ttjv 
 Bhpav <\l/o4>el or \po4>dv> . Sam. 324: e\l/6<f>r}Ke TpoMP Trjv dvpav. Per. 126: 
 AXXA riiv dvpav \f/o4>€l tls k^MV. Epitr. 454: riip Ovpav'rwv yuTovoiv tls b}/6<i)y]Kev 
 k^uov. It is to be noted that in the first of the passages just quoted from 
 Menander and possibly in the second also, \l/o<f)elv is used as an intransitive 
 verb; in such cases there can be no question of any noise like intentional 
 knocking. Now, if the intransitive \l/o<f>€iv indicates nothing more than the 
 creaking of the door, it is reasonable to assume that the same is true of the 
 transitive use, the more so, inasmuch as in no instance of the transitive use, 
 or in any other phrase equivalent to transitive yj/cxjielv, is there any evidence 
 that the person, who opened the door, thus causing it to creak, made any 
 intentional noise. In some cases, as we have seen, he could avoid making the 
 door creak; generally he was indifferent to the noise incidental to the opening 
 of the door. 
 
 In connection with this discussion of \t/o<i)elv, four other passages may be 
 cited, in which, though the specific word xf/ocfyeiv is not used, persons in front 
 of the house infer from a noise that others are about to come out of the 
 house. Sophocles, Elec. 1322 f.: (nydv kirxivea.* cbs €x' e^oScfj kXuco | T(hv evbo- 
 6ev x^J^PovvTos. Euripides: Hel. 858 f. : eK^alvet dojjwv \ ri decrTLcodos Qeovorj. 
 KTVirel dofjLos \ K\fidpo)v'\vdkvT(av. Orest. 1366 f . : dXXd KTVirel yap KKfjdpa ^aaiXiKcov 
 bbpMv, I cruyqaaT.' e^cu yap tls eK^alvei ^pvycov.^^ Ion. 515 f . : cos 8' kir' k^bboKXiv 
 6vTos T0)v8' CLKOvonev TTvXcov I dovirov, k^lovTa t ^8rj decrwoTTjv bpav irapa. In the 
 first passage the noise is caused by the door or by the person at the door, 
 in the second and third by the drawing of the bolts of the door, and in the 
 fourth by the door itself. 
 
 CREPARE-CONCREPARE 
 
 The use of crepare^ and concrepare*^ in connection with the opening of 
 the door by someone on the inside is confined to Plautus and Terence, and in 
 their plays we find only twenty-eight instances. 
 
 ** Although this is an actor's interpolation (see Schol. ad loc), it gives evidence of 
 the practice of the date of the interpolation. 
 
 " Donatus in his commentary on Terence, Hec. 521, makes this distinction between 
 them: " 'Concrepuit' plus quam 'crepuit,' nam, 'con' modo auctivum est." 
 
KNOCKING AT THE DOOR BEFORE COMING OUT OF HOUSE 35 
 
 It is the testimony of Donatus (ad Ter. Ad. 264: quidnam foris crepuit?) 
 that crepare refers to the noise made by the door: " 'crepuit' acre sonuit." 
 Plautus (Poen. 609 f.) gives explicit evidence to the same effect: Co. fores 
 hae fecerunt magnum flagitium modo. Adv. quid <id> est flagiti? Co. 
 crepuerunt dare. 
 
 References in the plays to the noise indicated by crepare-concrepare are 
 usually of the colorless type such as Ad. 264, on which Donatus makes his 
 comment. It is safe to assume, we think, that his interpretation is equally 
 true of all other instances in the Roman drama. In employing the word 
 sonuit, Donatus did not, in our opinion, mean to imply knocking or any inten- 
 tional noise, but only the sonitus forium or the crepitus cardinum referred to in 
 Plant. Cure. 156 ff.: sentio sonitum: | tandem edepol mihi morigeri pessuli 
 fiunt. I placide egredere et sonitum prohibe forium et crepitum cardinum. II. 
 230 f.: nam sonitum et crepitum claustrorum audio, | aedituum aperire 
 fanum. 
 
 The same word sonitus occurs in the same connection in two other passages 
 and is to be interpreted in the same way: Plant. Trin. 1124: sed fores hae son- 
 itu suo mihi moram obiciunt inconmiode; Pacuvius, Dul. (Ribbeck 1.92.12): 
 quidnam autem hoc soniti est, quod strident foris? 
 
 The word postes in Seneca's Oedipus (1. 911 : sed quid hoc? postes sonant.) 
 is sufficient evidence that the noise implied in sonant is not to be attributed to 
 any intentional knocking. Knocking is, therefore, not implied in another 
 passage from the same play: 1. 995: sonuere fores. Accordingly, the same 
 words in the same author's Here. Oet. (1. 254) are not to be interpreted as in- 
 dicating an intentional knock. Is not the evidence that we have just pre- 
 sented sufficient to justify our assertion that sonare-sonere is to be thus inter- 
 preted in the following parallel instances from the Roman drama? : Gracchus, 
 Pel. (Ribbeck 1.230): sonat impulso regia cardo. Attius, Neop. (Ribbeck 
 1.196.6): atque adeo valvas sonere sensi regias. Attius, Clytem. (Ribbeck 
 1.139.1): sed valvae resonunt regiae. Pacuvius, Iliona (Ribbeck 1.102.15): 
 valvae sonunt? 
 
 The other passages, in which crepare and concrepare occur, are cited be- 
 low, in order that the reader may have them at his convenience. It is our 
 claim that they must be interpreted as referring to no other noise than that 
 necessarily made by the door when opened. Our justification of this claim 
 is based (1) upon the fact that conclusive testimony has been presented to 
 show that several of the passages admit of no other interpretation, (2) upon 
 Donatus' statement (ad Ter. Ad. 264) that crepare with foris as subject is the 
 equivalent of sonare, which, as has been shown, does not imply any knocking. 
 
36 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 and (3) upon the fact that no one of the passages affords any evidence to sup- 
 port the theory that there was intentional knocking. 
 
 Plautus: Mil. 154: sed foris concrepuit hinc a vicino sene. Mil. 270: 
 sed fores crepuerunt nostrae. Mil. 328: sed fores (con)crepuerunt nostrae. 
 Mil. 410: sed fores vicini proxumi crepuerunt. Men. 348: nam concrepuit 
 ostium. Men. 523: sed concrepuit ostium. Pers. 404: sed ibi concrepuit 
 foris. Poen. 741 : nam crepuerunt fores. Cure. 486: sed interim fores crepu- 
 ere. Ps. 129: ostium lenonis crepuit. Amph. 496: crepuit foris. Most. 
 1062: sed quid hoc quod foris concrepuit proxuma vicinia? Bacch. 234: sed 
 foris concrepuit nostra. Bacch. 610: nam concrepuerunt fores. Bacch. 
 1057: sed crepuit foris. Cas. 162: sed foris concrepuit. Cas. 813: sed crepuit 
 ostium. Cas. 874: vostra foris crepuit. Cas. 936: sed concrepuerunt fores. 
 Terence: And. 682: crepuit a Glycerio ostium. Eun. 1029: sed fores crepu- 
 erent ab ea. Heaut. 173: sed quid crepuerunt fores hinc a me? Heaut. 613: 
 quid est quod tam a nobis graviter crepuerunt fores? Hec. 520 : sed ostium 
 concrepuit. Phor. 840 : sed ostium concrepuit abs te. 
 
 That we are right in interpreting crepare and concrepare as indicating no 
 knocking whatever is made all the more probable by the fourteen passages in 
 which the opening of the stage-door is indicated by some form of aperire. 
 This verb means nothing more than "to open" and in no one of the fourteen 
 passages is there the slightest indication of knocking. On the contrary, there 
 is direct evidence in the fourteenth passage that such an interpretation would 
 be absurd. 
 
 Plautus: Men. 108: sed aperitur ostium. Merc. 699: aperitur foris. 
 Mil. 528: aperitur foris. Mil. 985: aperi(un)tur foris. Mil. 1198: ecce 
 autem commodum aperitur foris. Pers. 80: sed aperiuntur aedes. Pers. 
 300: foris aperit. Bacch. 798: nam audio aperiri fores. Cas. 434: audio 
 aperiri fores. Cas. 779: sed aperitur ostium. Amph. 955: atque aperiun- 
 tur aedes. Trin. 400 : sed aperiuntur aedes quo ibam. Cure. 21 : quom aperi- 
 tur. Cure. 83 f.: viden? <ut> aperiuntur aedes f estivissumae : num 
 muttit cardo? 
 
 We may give, for the sake of completeness, two similar passages : Plant. 
 Ps. 952: st, tace: aedes hiscunt. Laberius, Taur. (Ribbeck 2.293): hie- 
 tantur fores. 
 
 As we have stated, no one of these words for ''opening" suggests a noise 
 of any kind. And yet it is probable that, in the practice of the stage, the out- 
 coming actor in opening the door caused it to creak or grate, and this noise, 
 quite incidental to the opening of the door, furnished a useful ''cue" to the ac- 
 tors already on the stage that another character was about to come from the 
 
KNOCKING AT THE DOOR BEFORE COMING OUT OF HOUSE 37 
 
 house. This explanation accounts for all instances of the Menandrian ex- 
 pression rj dupa \po(f)€l and for most cases of crepare-concrepare and their 
 variants. In some instances'^ these words are used as a "cue" for silence, 
 but this is in reality only another way of showing that the conversation, as re- 
 quired by the plot, must cease and that another actor must make his appear- 
 ance and is about to do so. 
 
 Two passages (Most. 505 ff., Mil. 328) call for special comment. The 
 former, to be discussed more fully later (pp. 40 f.), is employed as a means 
 of carrying out the plot of the play. Tranio must thoroughly dupe and 
 frighten Theopropides. To convince him completely that there is a ghost in 
 the house, Tranio pretends to believe that the ghost is coming out and says: 
 '^concrepuit foris." In the second passage (con) crepare also serves the poet 
 as a device of carrying out the plot. Sceledrus has seen Philocomasium in 
 Periplecomenus' house, but Palaestrio is trying to make him believe that he is 
 mistaken in this and that the woman is in the Captain's house. By a secret 
 passage she has in reality passed over to the Captain's house and causes 
 the door to make a noise so as to assist Palaestrio in duping Sceledrus. 
 
 Let us now summarize our conclusions as to ypo(i>dv-^b<i)os and crepare- 
 concrepare when used in connection with the stage-door. (1) In the drama 
 \po4>€lv occurs but once (Eur. Here. Fur. 78) in connection with leaving the 
 scene and going into the house, and here it most likely refers to the creaking 
 of the door. Thus used, ypb^os occurs in the drama twice (Eur. Iph. Taur. 
 1037 f.: Aristoph. Av. 53 ff.) and in both cases refers to actual knocking. 
 The very rare use of \l/o(f)€lv in this connection is due to the fact that there 
 is no occasion to call attention to the noise made by the door when an actor 
 goes from the scene into the house. The only instance of crepare (concrepare 
 does not occur) thus used refers to the grating sound made by opening the 
 door. (2) In connection with exits from the house upon the scene \l/o(t)elv- 
 \f/6<f)os and crepare-concrepare refer merely to the creaking produced by the 
 door, the hinges (pivots) , and the door-fastenings. Were there any evidence 
 for intentional knocking in this connection, these words could of course indi- 
 cate such a noise. Of the dramatic writers, only Menander employs \f/o(f)€lv 
 in connection with exits from, the house. That Aristophanes was acquainted 
 with this use of \l/o4>elv is obvious from 17 Kairvr] \po(i){i {Vesp. 143) 
 
 The word ypoi^tlv also occurs in connection with the opening of the door 
 to the private house. When thus used in exits from the house, it indicates 
 only the noise incidental to the opening of the door (Lysias, 1.14 and 17). 
 
 44 E.g. Mil. 270 f ., Men. 34 f ., Poen. 609 f ., 741 f ., Cure. 486, Ps. 129, 951, Bacch. 
 1057 £., Cas. 814. 
 
38 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 Occurring in connection with entrances into the house, ypo4>€iv may denote 
 actual knocking (Heliodorus, 1.17, 3.16; C. I. G, iii. 5194 b). 
 
 There are other passages in the classical drama which seem to imply knock- 
 ing even more than those in which ypo<f>tlv and crepare-concrepare occur. But 
 a careful study of them shows conclusively, we think, that they are not to 
 be so interpreted and that the noise implied in them is due to another cause. 
 
 Four of the passages are found in Menander:'*^ dXXd tyjv dvpav irpouhv 
 irkir\rjx^ (Sam. 85 f.); ttiv dvpav TreirXrix^ (Sam. 151 f.); TewXrjx^ TrjV dvpav (Sam. 
 210); Tijv Bvpav Tr^TXr^x^v (Epitr. 485).*^ In the first passage it is obvious 
 that Parmenon was in a perturbed state of mind. His master had ordered 
 him, in an ominous tone of voice, to go into the house and return at once. 
 Parmenon makes a great show of hurrying, seeing that his master is angry 
 about something, and rushes out of the house with a good deal of unnecessary 
 noise. The context of the second passage shows that Demeas rushed out of 
 the house with great violence, as a moment before he had rushed in like a 
 madman (1. 146). The same is true of the other passages, for the context of 
 each makes it clear that Niceratus in the third and Charisius in the fourth 
 came on the stage violently agitated. 
 
 Under such circumstances as have been described, it seems unreasonable 
 to suppose that there could have been any intentional knocking. That there 
 was none is made all the more probable (1) by the fact that tKyittq) is not one 
 of the ordinary verbs for knocking and (2) by the use of the perfect tense 
 which implies a single blow. 
 
 How then are we to interpret TeirXrjxe in these Menandrian passages? 
 In all likelihood, it means something like oidelv in Euripides' Orestes (1. 1562), 
 only the doors in Menander are light house-doors, not heavy temple or palace 
 doors. The actor shoves the door open with his hand stretched out before 
 him. Hence it seems unquestionable that the noise implied in ireTXrixe in these 
 passages from Menander was due, not to any intentional knocking, but to 
 the actor's violent impact against the door as he rushed from the house upon 
 
 *' The lines are cited from Koerte's Menandrea, ed. 2. 
 
 *" That there is a diversity of opinion as to the correct interpretation of irkTrXrixe 
 is exemplified in these comments: Van Leeuwen, ad Epitr. 427: "Dicitur nunc Trkirkrjx^ 
 ut k4^6<t>riK€, de exeuntibus; Kowreip vero et 7ral«v est intrare cupientium." Croiset, 
 Menandre I'arbitrage, note on I. 411: "Ne pas confondre avec bp6<t>r}K€ (I. 380). 
 TliTrXrjxe marque un mouvement violent." 1. 380: "Le mot \po<t>elv ne parait pas dfeigner 
 un coup, mais plutot le bruit du verron que Ton tire ou de la clef dans la serrure." 
 Bodin et Mazon, Extraits d'Aristophane et de Menandre, p. 324, note on Sam. 85 
 (ir«7rX77xe) : "Les portes s'ouvrant le plus souvent au dehors, on frappait avant de 
 sortir, pour avertir les passants (irX^reiv ou \po<f)tlp)." 
 
KNOCKING AT THE DOOR BEFORE COMING OUT OF HOUSE 39 
 
 the scene of action. This interpretation depends upon the assumption that 
 the doors in question swing outwards — sl topic to be treated in the next 
 chapter. 
 
 Another passage to be discussed in this connection is Terence, Ad. 788:' 
 quis nam a me pepuUt^^ tam graviter fores? and the comment of Donatus ad 
 loc. : '^Tam graviter, quia irati omnia concita faciunt. Cum pulsandae fores 
 exituro foras, Demea sic eas pulsavit, ut et his ipsis irasci videretur." Don- 
 atus seems to mean that, whereas ordinarily a person coming from the house 
 had to pellere the door, in this instance the angry Demea did so with such vio- 
 lence as to proclaim his anger to the door itself. The difference between the 
 usual action and Demea's is in the. violence of the latter. The word pellere 
 here means, we think, little more than to push or to strike against with the 
 body. An exact parallel is found in Tacitus (Ann. 11.37), where the murder- 
 ers of Messalina are described as rushing against the door to force their way 
 into her room: cum impetu venientium pulsae fores. In the same manner 
 the angry and excited Demea rushed against the door as he came in headlong 
 haste from the house upon the scene. Under such circumstances it is scarcely 
 conceivable that he did any intentional knocking. If Donatus intended to 
 imply knocking in his comment, did he not overlook the perfect tense in pe- 
 pulit, which indicates a single blow, as well as the fact that pellere is not the 
 ordinary verb for knocking? Terence certainly could (the meter allows it) 
 and very likely would have used pultat, had he meant to convey this idea. 
 Indeed, it seems best to take pepulit as an exact translation of wewXi/jxe in the 
 Greek original. According to this interpretation the door in question opened 
 out upon the street. 
 
 This interpretation of pepulit is strengthened by a passage found in Sene- 
 ca's Medea (177 f.) : sed cuius ictu regius cardo strepit? ipse est Pelasgo tumidus 
 imperio Creo. That no intentional knocking is implied in this passage is ob- 
 vious from cardo strepit. Ictu simply refers to the impact made by Creon 
 
 *^ For different interpretations of pepulit see: Spengel: "Demea schlagt von in- 
 nen an die Thtire, damit ihm ein Sclave dieselbe offnet. Dies thut er heftig, weil in 
 Zorn." Dziatzko: "Vor Vollendung des Satzes wird er (i.e. Micio) durch das heftige 
 Schlagen der Thtire seines Hauses unterbrochen." Ashmore: "pepulit: rarely used 
 of a person coming out of a house, but Demea is so violent in his wrath that Micio may 
 well imagine the sounds he hears to be made by a person eagerly knocking to be ad- 
 mitted." Sloman: "pepulit: rarely used of a person coming out. Cf . 264. The ancient 
 opinion (i.e. intentional knocking) however is suported by 1. 788 of this play." Phil- 
 lips: "Demea, like a person in a passion, beat the door violently, as if angry at it." 
 Davies: "Here, as Ruhnken notes, pepulit is used in a rarer sense of one coming out, 
 of which crepo or concrepo is more commonly used." 
 
40 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 putting his hand against the door to push it open. Since he is coming out of 
 the house, it is evident that this door swung outwards. 
 
 Further proof that pepulit in the Adelphoe has been correctly interpreted 
 is furnished by a fragment from Gracchus' Peliades (Ribbeck 1.230): sonat 
 impulsu regia cardo. Impulsu is sufficient evidence that the noise indicated 
 by sonat was due, not to any knocking, but to the actor's shove against the 
 door as he passed from the house upon the stage. (Cf. Tac. Ann. 11.37). 
 This interpretation requires us to assume that the door opened out upon the 
 stage. 
 
 Another passage bearing upon the question under discussion is found in 
 Plautus' Mostellaria (505 f.): Tran. st, st! Theo. quid obsecro hercle fac- 
 tumst? Tran. concrepuit foris: hicine percussit?^^ Theopropides has been, 
 fully convinced that his house is haunted. Tranio has placed inside the house 
 his confidants, who are avidly listening to the conversation on the outside. 
 He has succeeded admirably in completely duping the old gentleman, who is 
 very much excited and scarcely knows what he is doing or what is taking 
 place. Having the situation well in hand,, and realizing that Theopropides is 
 in such a condition as to believe anything, he first says: ^^st, st!'^ ''hushing his 
 voice in mock fright," as though the ghost were making a noise at the door. 
 Theopropides becomes still more alarmed and his query (quid obsecro hercle 
 factumst?) convinces Tranio that the psychological moment has come for 
 the climax and he says: ^'concrepuit foris: hicine percussitr' ''The door 
 creaked. Was it the ghost in there that smote on it?" In other words, 
 Tranio pretends to believe that the ghost is coming out of the house. The 
 ruse imposes on Theopropides, but its success is suddenly threatened by an 
 actual noise inside the door, perhaps intentionally made by one of the con- 
 spirators to assist in tricking the old man. It is now the turn of Tranio 
 to become alarmed, and he endeavors to silence the people inside and to 
 get Theopropides away from the door without arousing suspicion. 
 
 According to this interpretation, which seems to me to be the correct one, 
 there is no intentional knocking, but concrepuit refers to the noise that would 
 be made by the creaking of the door and percussit to the impact that would 
 be made against the door, were the ghost really coming out. The verb per- 
 cussit is therefore equivalent to pepulit. But someone may ask: "Must 
 we not interpret per cuter e in 1. 508 as indicating actual knocking when the 
 same word in the two other lines (516, 521) admits of no other interpreta- 
 
 " The proper assignment of parts in this passage is a matter of doubt among the 
 editors. See editions of Ussing, Lindsay, Goetz and Schoell, Fay, and Ramsay. The 
 passage is given here as found in Lorenz' edition. 
 
KNOCKING AT THE DOOR BEFORE COMING OUT OF HOUSE 41 
 
 tion?" The propounder of this query must bear in mind (1) that Plautua 
 purposely makes Tranio use percutere in 11. 516 and 521, since it ''carries an 
 uncomfortable verbal suggestion of the uncanny question (hicine percussit?) 
 in line 508," (Fay's note), (2) that only in these two lines in the Roman 
 drama does percutere imply knocking and it very rarely in Latin literature 
 in general has this meaning (see p. 23 f.), and (3) that the interpretation given 
 it in 1. 508 is in keeping with its natural significance. 
 
 We therefore conclude that \f/o<i)elv, crepare-concrepare, and all other 
 verbs, which are used in connection with the opening of the door by some 
 one coming out of the house, do not indicate any intentional knocking. The 
 noise, as we have shown, is due to other causes. 
 
CHAPTER IV 
 
 DID THE STAGE-DOOR OPEN OUTWARDS OR INWARDS? 
 
 Our interpretation of the passages containing the words irkifKrix^ (pp- 
 38 f.), pepulit (pp. 39 f.), and percutere (pp. 40 f.) required that we 
 should assume, at least for those passages, that the stage-door opened out- 
 wards. Let us now see what evidence there is on this point. The informa- 
 tion on this subject given in our commentaries is meagre. And yet there is 
 sufficient evidence in the texts of the dramatic poets, in the learned writers, 
 in the casual statements of Greek and Latin authors, and in vase-paintings, 
 wall-paintings, and reliefs to give a consistent answer to the question. 
 
 The stage-door and the door in the private house must be investigated 
 separately. In a matter like this the practice of the stage may not always 
 have been the same as that of private life, though one might expect that the 
 stage-practice would originally have been an exact reflection of the usage of 
 every day life. But, as we shall see, reasons of a public nature operated to 
 determine whether the front door of the private house should swing out- 
 wards or inwards, while the stage-door was free from all external conditions. 
 It could be swung as playwrights, stage-managers, and actors decided was 
 most suitable for the purposes of the stage. 
 
 As a preliminary to our discussion of the door in the back-scene of the Greek 
 and Roman theater, it would be well to inquire about the door to the private 
 house. "We recall the important statement of Plutarch (Vit. Pdblic. 20), al- 
 ready quoted on p. 25 f., that in former times (Tporepov) the doors of Greek 
 houses universally opened outwards. We observe that the author does not . 
 vouch for the statement (Xeyovcn) and that it is represented by him as an 
 inference from the language of the comic writers: aird tcov KcofjcoSiCiv \atx^avovTes, 
 The value of the statement depends upon the chronological limitations one 
 puts on the word wpoTepov, for it may be true, for all we know, that in the 
 remote past the front doors of Greek private houses did regularly open upon 
 the street. 
 
 The only genuine evidence that doors in Greek private houses opened 
 outwards is furnished by a couple of passages in Aristotle which mention 
 prohibitory legislation. Hippias put a tax on such doors as encroachments 
 
 42 
 
DID STAGE-DOOK OPEN OUTWARDS OR INWARDS 43 
 
 upon the public way: Oeconomica 2-1347 a :14 'iTTTrtas (6) 'A.dt\valos to. 
 virepkxovTa TOiv VTrepc^ojv els tcls dTjixoo-las 68ovs Kal robs ava^adjjLovs Kal tol irpo(f>pa.y- 
 liarcL Kal tcls Ovpas rds avoiyofievas e^co eTcoXrjaev. 
 
 Whether the democracy went further than Hippias and positively pro- 
 hibited such doors cannot be determined with certainty, but this seems 
 a plausible inference from Arist. Resp. Ath. 50-2: /cat rds ddobs KcoXvovat 
 (i.e., ol aarvvbixoC) KaTOLKodofxelv , Kal bpv(f>aKT0vs virep roiv odcov virepTeheLv, Kal 
 ox^TOvs fxerecopovs els Trjv 68dp eKpovv exovras TOtelv, Kal tcls dvpldas els tt^v d86v 
 avolyeiv. Either dvpibas means "doors," as Kenyon argues ad loc, or if it 
 has its usual meaning ''windows" (see Sandys' note), it seems rather strange 
 that projecting doors are not mentioned with the other encroachments, some 
 of them less objectionable than such doors would be. In any event, houses 
 provided with a prothyron on the street would have their front wall set back 
 from the street by at least the depth of the prothyron, and the door could 
 swing outwards without interfering with passers-by. We may add that 
 Polyaenus relates (3 • 30) that Iphicrates, the Athenian general, was in need 
 of money and so persuaded the Athenians to pass a regulation about such 
 encroachments upon the pubhc streets (rd virepexovTa tCov olKodofirjiJLaTcov es tcls 
 drjfjLoalas 68ovs cnroKOTrTeLV rj irLTrpa<jKeiv), the result of which was that he took 
 in much money from those who preferred not to disfigure their houses. 
 
 Let us now pass to particular instances. The front door to the house 
 in Plato's Protagoras (314 D) opened inwards: k-KeLbi} yovv eKpovaafxev Tr)v dvpav, 
 avol^as Kal l8^v i^Mots? "Ea," (E<j)rj, (X0(l)L(TTal TLves'. ov ax^^V aurcji." Kal afxa 
 cLfi(f)olp Tolv x^potj' TTiv dvpav TTCLvv TTpoOviMos COS olos T "qv eiT'qpa^e. The slave who 
 slammed the door in the face of visitors (eirrjpa^e) was on the inside; hence 
 the door opened toward him. This house had a prothyron (314 C). 
 
 We may possibly^^ take as evidence for this same period these passages 
 found in Plutarch, as they both refer to the death of Leontidas and use the 
 same word evdovpai. The first is Vit. Pelop. 11.4: rots 8e irepl t6v ILekoiribav 
 epycfjdecTTepov airrjvTa to Tpdyfxa' Kal yap ewl vi)4>ovTa Kal beivbv avdpa top Aeov- 
 Tidav ex^povv, Kal KeKXeLCfxevrjv ttjv olKlav evpov i]8r] Kadev8ovTOs, Kal irokhv xPOJ'ov 
 KOTTTOvaiv avTols VTTjKovev ov8els. ijloXls 8e iroTe tov depdirovTos aladoiievov irpoibvTos 
 ev8oBev Kal tov [jlox^ov d<f>aLpovvTOs , ajua t^ irpoiTOV ev8ovvaL Kal xctXacrat rds dvpas 
 efJLTeaovTes ddpooL Kal tov oUeTrjv dvaTpexf/avTes eirl tov BaKajJiov cbpjJLrjaav. The 
 second, Moralia 597 D, refers to the same event: erpaxdrj 8^ KaKelva tovtov 
 TOV TpoTTOv eKoxpav ol irepl Ti.eKoTrl8av tov AeovTl8ov ttiv avkeiov rjavxv irpocreKdov- 
 
 ^^ If Plutarch, unmindful of antiquities, modernized his stories, then these two 
 passages cannot be taken as evidence for the fourth century. See R. C. Flickinger, 
 Plutarch as a Source of Information on the Greek Theater, p. 22. 
 
44 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 res, /cat Tp6s tov vwaKOvaavra tcov olKerajv ecfyacrav riKeiv 'Adrjvrjdev 7paju/iara rqj 
 AeoPTidrj xapa KaXXto-rpdrou KOfii^ovres. ojs 5' d7ra77etXas /cat KeXevadels avol^aL 
 TOV jjLox^ov ac^eiXe /cat iiLKpdv kvedcoKe Trjv dvpav, enireaovres adpboi /cat avarpexp avres 
 TOV apdpoJTTov tePTO bpb{i(jo bia. rris avXrjs kiri top dakatxop. The verb kpbovvai, from 
 the point of view of the man on the inside, indicates that the door opened 
 inwards. 
 
 See also Plutarch's account of the murder of Dio {Vit. Dion. 57): ajua 
 b' ol jiep e^o) tcls dvpas cTrto-Trao-d/xewt (i.e., "drawing the door to them and closing 
 it") KaTelxop, ol 8^ tc^ Alcopl irpocnreo-oPTes KaTex^LV kireipibPTO koI avPTpl^eLP avTOP. 
 cos 8' ov8h kw'epaLvop, fjTOVP ^l(f)OP. ov8els 6' eToXfia tcls dvpas apol^aL.^^ 
 
 Evidence from the Hellenistic period for Greek houses in Asia Minor 
 is furnished by the excavations at Priene. Wiegand and Schrader {Priene 
 p. 305) report: "Die Fliigelthiiren offneten sich stets nach innen." 
 
 As regards the Greek private house we may conclude that the general 
 practice underwent a gradual change, as the result of restrictive or prohibir 
 tory legislation, between the fifth and fourth centuries. During the tyranny 
 of Peisistratus the street-door often, if not commonly, opened outwards into 
 the street, but by the fourth century it usually, if not always, swung inwards. 
 
 Passing now to the Roman private house, we find almost a complete consen- 
 sus of evidence to the effect that from at least the sixth century down the street- 
 door opened inwards. In Vit. Pohlic. 20, the passage already^moted on p. 
 25 f., Plutarch says that, although all other doors opened inwards at that time, 
 Poblicola's house, as a mark of special distinction, was permitted to have its 
 door opened outwards upon the street. The same statement is made in no 
 less sweeping terms by Dionysius of Halicarnassus (Antiq. Rom. 5.39) : TavTrjs 
 TTJs ot/ctas. Trap' rjp 6 xaX/cous e<TTr}Ke Tavpos, at /cXto-tdSes dvpai fJLOPai tu)p ev tyj 'Fco/jL-a 
 8r]iJLO(Tlo)v T€ /cat 18uji3tlko}v oXkoov €ts TO e^o) fxepos apoiyovTai. The special distinc- 
 tion granted Poblicola is also mentioned by Pliny the Elder {N. H. 36.112) 
 and Asconius {In Pis. 12). There is no evidence to show that the practice 
 in Rome of swinging the door inwards ever changed. ^^ 
 
 The street-doors of the private houses unearthed at Pompeii regularly 
 opened inwards, as in Rome; see Mau, Fiihrer durch Pompeji p. 76, who 
 
 ^° Cf . Xenophon Hel. 6.4,36: cbs 5* e'urijXdop, kTunr&acura rriv dvpav etx^ro tov ^Sirrpou, 
 ius iTTfOavev b divqp. After letting the assassins in, the woman remained outside and held 
 the door closed by pulling upon the }>6irTpov; hence this door opened inwards but it was 
 a room-door, not the street-door. 
 
 '^ Professor A. M. Harmon maintains that the distinction granted Poblicola would 
 not have been a special privilege, had there not have been a law against the door open- 
 ing outwards, and, hence, that in early days Roman doors did open outwards sometimes. 
 
DID STAGE-DOOR OPEN OUTWARDS OR INWARDS 45 
 
 says of the Casa delFauno: "DieTiir zwischen Vestihulum und Fauces offnete 
 sich nach aussen, was sonst nie vorkommt und vermutlich verboten war.^^ 
 
 We now pass to the door in the back-scene of the Greek and Roman 
 theater. There are a few passages in the Greek and Latin plays which give 
 evidence on the subject, and fortunately the evidence is clear and conclusive, 
 if our interpretations in the preceding chapter are right: the stage-door 
 opened outward upon the street or the space in front of the house, and this 
 too whether the house had a prothyron or not. 
 
 We first cite the only passage which offers serious difficulty to the inter- 
 preter, Sophocles Antig. 1186 f. : Kal Tvyxo-voi re kX^Gp' avacriraaTov irvXrjs \ xctXcoo-a. 
 It is the general opinion of editors of Sophocles that the door in question 
 swung outwards. See: Wolff-Bellermann ad loc: "Die Fltigel der Thiir 
 sind von innen durch einen quer vorliegenden Riegel geschlossen; diesen 
 muss sie zuriickschieben (xaXdv lose machen) und dann die Thiir nach aussen 
 aufschlagen {avacrwdv)/^ Schneidewin-Nauck : "offnend den Riegel der 
 infolge dessen sich aufthuenden Thiire . . . Da die Thiiren der Alten 
 nach aussen gingen, so zog man sie beim Hineingehen an (cTrtppd^at O.R. 1224) 
 und loste den Riegel, um sie nach aussen zu offnen, beim Hinausgehen." 
 Jebb, however, and Humphreys believe the door opened inwards, arguing that, 
 since eTLo-irdv means to pull the door to in going out, dvaairdv must mean the 
 opposite. D'Ooge cites several passages (Polyb. 5.39.4; Soph. Aj. 302; Eur. 
 Med. 1351) to prove that dvacirdv means to open. 
 
 A second passage bearing upon this question is Euripides, Orest. 1561 f.: 
 dvoLykroi tls dcofxa' wpoaToXoLS \eyo) \ oiSelv irvXas rdabe. Menelaus is in front 
 
 52 See also Bliimner, Die Rom. Privataltertumer p. 19: '*Dass sich die Tiir des rom- 
 ischen Hauses nach innen, nicht nach aussen offnete, das lehren nicht nur die Beobach- 
 titngen in Pompeii, wo das die Regel ist, sondern auch direkte Nachrichten, nach denen 
 das Gegenteil nur ausnahmweise vorkam, als eine Auszeichnung fiir verdiente Man- 
 ner, deren Hauser dadurch gewissermassen tiber das allgemeine Gesetz gestellt wurden." 
 Also Pottier, Daremherg-Saglio s.v. ianua: "On a vu plus haut que I'affirmation de Plu- 
 tarque sur la fagon dont les portes s'ouvraient a Athens et k Rome ne merite pas un ab- 
 solue creance. S'il est naturel que la plupart des maisons aient eu des portes dont les 
 valvae se rebattaient k I'interieur, on ne pent pas dire que la maison de Valerius Pub- 
 licola ait et6 k Rome la seule qui s'ouvrit sur le dehors. On consulte Scaevola, juriste 
 contemporain de Ciceron, sur le cas d'un Romain qui a ouvert une porte sur le dehors, 
 sans depasser la ligne de protection de sa gouttiere et des poutres de son toit. A Pom- 
 pei m^me, on a trouve dans une maison de belle apparence une porte qui, en s'ouvrant, 
 empietait sur la rue; mais les autres s'ouvrent sur I'interieur. Par consequent, k 
 Rome comme a Athens, les habitudes furent les memes; les portes s'ouvraient leplus 
 habituellement sur I'interieur, et le contraire fut motive par des raisons exception- 
 nelles de recompense ou de luxe." 
 
46 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 of the palace and commands those on the inside to open the door by remov- 
 ing the bars and thrusting it outwards. This makes the door swing outwards. 
 (See Paley ad loc.^) 
 
 Aristophanes (Vesp 138 ff.) shows conclusively that the door in this 
 play was so swung as to open outwards : 
 
 Bd. ov 7r€pt5pa/A€trat (t4>^v rax^cos btvp arepos', 
 
 6 yap waTTip ks rbv iirvbv €l(reKr)\vde 
 
 /cat iJLvawdKel tl KaTadeSvKOJs. dXX' oBpei 
 
 /card rrjs irveXov to rprjix* ottojs ^117 'KdvcreraL- 
 
 (TV bk ry dvpq. irpoaKeicro. So. ravr a) deawora. 
 Bd. ava^ UoaeLdov rl tot ap 1) KCLirvrj ipoifyel', 
 
 ovTOS tLs el ov', Phi. Kairvos €70)7' k^epxoiiai. 
 Bd. Kaxvos] <t)kp Idea ^vXov t'lvos av', Phi. cvkIvov. 
 Bd. PTj Tov At' oairep 7' €(rrt bpniVTaTOS Kairvihv, 
 
 cLTCLp ovKeT eppTjoeiS 7€, TTov 'od' 7] TT/Xta; 
 
 8vov ttoKlv' 4>ep' eiravadcb ool Kal ^v\ov, 
 
 evTavda vvv ^rjTeL tlv aWrjv jirix^vi^' 
 
 drdp d^Xtos 7' tip.' cos €T€p6s 7' ovbds avrjp, 
 
 ocrrts iraTpds vvvl Y^airviov KeK\-f)aop,aL. 
 So. (obe)^ TTjv dvpav codel' Bd. irU^e vvv a<i>6bpa, 
 
 ev KOLvbpLKccs' Kayw yap kvTavd' epxop>aL. 
 
 /cat TTjs KaTaKKjbos €inp.e\ov, /cat tov iiox^ov 
 
 <f)v\aTd' OTTWS jlm) ttiv l3a\avov e/crpcb^erat. 
 
 Philocleon is in the house and wishes to come out. * Bdelycon, Zanthias, 
 and Sosias are on the outside and desire to prevent him from getting out. To 
 accomplish their purpose, they first push him back into the chimney, and 
 then, when he tries to push open the door {codel), they press against it 
 from the other side. The door must, therefore, have opened outwards. 
 
 In the preceding chapter we have shown (pp. 38 ff.) that the correct in- 
 terpretation of ireTXrjxe in Menander's Samia and Epitrepontes and of 
 
 ^' It is possible, however, that the irpoairdKoL to whom Menelaus speaks are his 
 own attendants; in this case the door opens inwards. 
 
 »* If in 1. 152 xal, Tijv dbpav iadei is read, with the Aldine edition, and Bd. contin- 
 ued as the speaker, the result is just the same so far as the door is concerned. The 
 verb i^ilv can be used for push to open or push to keep closed. But the former 
 meaning is probably the more common, cf. Lysias, 1*22: oxravres riiv dvpav tov duiiarlov. 
 The first syllable of this line is lacking in the MSS. and Sde is due to Hermann. The 
 assignment of parts is due to Hamaker. 
 
DID STAGE-DOOR OPEN OUTWARDS OR INWARDS 47 
 
 pepulit in Terence's Adelphoe carries with it the presumption that the doors 
 in question swung outwards. The same has been shown to be true of per- 
 cussit (p. 40 f.) in Plautus' Mostellaria, of cardo strepit (p. 40) in Seneca's Medea, 
 and of sonat cardo (p. 80) in Gracchus' Peliades. 
 
 Let us now sum up the evidence we have from the plays themselves: 
 In five Greek plays, three from the fifth century and two from the end of the 
 third, the doors opened outwards, viz. in Sophocles' Antigone, Euripides' Ores- 
 tes, Aristophanes' Wasps, and Menander's Samia and Epitrepontes. This 
 is in harmony with the source of Plut. Pohlic. 20, who according to Plutarch, 
 derived his information from Greek comedy. On the Roman side, the evi- 
 dence seems to show quite as clearly that the doors in four plays, from widely 
 separated periods, opened in the same way, viz. in Plautus' Mostellaria, Ter- 
 ence's Adelphoe, Gracchus' Peliades, and Seneca's Medea. We can cite no 
 evidence that goes to show that the door in any play, Greek or Roman, 
 opened inwards, and so conclude that the door in the back-scene jn the Greek 
 and Roman theater swung outwards, since it is hardly conceivable that the 
 stage-practice in any given period varied or that the door in a particular 
 play would be hung, contrary to the usual practice, to suit the lines. In such 
 matters, the stage would dictate to the poet, not the poet to the stage.^^ 
 
 This conclusion is confirmed by archaeological evidence obtained from 
 vases, wall-paintings, and reliefs on which dramatic scenes with state-setting 
 are represented. Each one in the following list, which may not be complete, 
 shows one or more doors opening out upon the scene. As far as possible, 
 the dates and the dramatic scenes are given and the first reference with each 
 shows the reproduction: 
 
 (1) Vase. Berlin 3044. iv. cent. B. C. Comic scene. Baumeister, 
 Denhmdler iii, p. 1754, n. 1830. (2) Ruvo Vase. iv. cent. B.C. Comic scene. 
 Baumeister, ibid, p. 1753, n. 1829. (3) Vase. Jatta Catalogue, 239. iv. 
 cent. B.C. It represents the slaying of Neoptolemus at Delphi at the in- 
 stigation of Orestes, as portrayed in Eur. Androm. 891. Huddilston, Greek 
 Tragedy in the Light of Vase Paintings, pp. 83 f. (4) Vase. Marquis de 
 Salamanca, Madrid. Between 350 and 320 B.C. Perhaps it represents 
 
 55 The ruins of theaters which have been excavated in recent years unfortunately 
 give no evidence on this subject. In several (e.g. Athens, Eretria, Megalopolis) it is 
 reported that the sill of the central door of the proscenium shows the pivot-holes of 
 the double door, but no arcs are scratched on the surface by which the direction of the 
 swing is indicated. Such arcs are reported by Wiegand and Schrader (I.e. p. 244) to 
 be on the sill of the central door of the scaena at Priene, the door opening inward; but 
 this door does not concern us here. 
 
48 • HOUSE-DOOR ON THE ANCIENT STAGE 
 
 Heracles destroying his children as described in Eur. Here. Fur. 975 ff. Mon. 
 delV Inst, viii (1864) Tav. 10. (5) Vase. Brit. Mus. 1490, Between 300 
 and 250 B.C. Comic scene. Arch. Jahr. i. p. 293. (6) Vase. Ruvo Am- 
 phora in Naples, Heydemann no. 3223. iv. cent. B.C. Orestes and Pyl- 
 ades before the temple in Tauris. Overbeck, Gallerie, Taf. 30.4; Vogel, 
 Scenen Eurip. Tragodien in griech. Vasengemdlden, pp. 70 f. (7) Vase. 
 Ruvo amphora in Naples, iv. cent. B.C. Iphigenia gives to Pylades the 
 letter to take to Argos: See Eur. Iph. Taur. 745 ff. Overbeck, ibid., Taf. 
 30.7; Vogel, ibid., pp. 72 f. (8) Pompeian wall-painting. Between 50 and 
 79 A.D. Scenic. NicoUni, Le Case ed i mon. di Pompeii^ fasc, 97, Nuovi 
 Scavi Tav. vi, Photogr. Mauri. 823. (9) Pompeian wall-painting. Between 
 50 and 70 A.D. Scenic. Arch. Anz., 1896, p. 29; Gargiulo, Museo Borhon- 
 ico II, T. 83, Photogr. Brogi 6535 (10) A so-called Megarian bowl with 
 figures in reUef. in. cent. B.C. A messenger summons Jocasta and Anti- 
 gone to th§ combat between Polynices and Eteocles, as described in Eur. 
 Phoen. 1259 f. Arch. Jahr. xxiii. pp. 184 ff. (11) Terra cotta relief (Vola- 
 terra). Between iii. and ii. cents. B.C. Tragic scene. Overbeck Gallerie, 
 Tafel, 6.2; Brunn, Relievi Delle XJrne Etrusche, i. p. 38, pi. 34.17. (12) 
 Terra cotta relief (Volaterra). Between in. and ii. cents. B.C. Tragic 
 scene. Overbeck, op. cit. Tafel. 28.3; Brunn, op. cit. i. p. 92, pi. 74.2.^^ 
 
 *^ Other scenic reliefs show the door but it is closed. 
 
CHAPTER V 
 The Use of the Stage-door and the Parodoi in the Plays 
 
 In the first part of this chapter we shall discuss entering and leaving 
 the scene of action through the door in the back-scene and by the parodoi 
 (side-entrances). °^ Every person that comes on the stage or leaves it causes 
 a change in the situation by his entrance or exit, adding an element that was 
 not present before or subtracting an element previously present. The amount 
 of coming and going in a play therefore forms a rough gauge of the amount 
 of action in it. If there are few entrances and exits, the amount of action 
 cannot possibly be high; if there are many entrances and exists, it will not 
 ordinarily be low. The gauge is only a rough one because, if one uses the 
 word action in a narrow sense, the amount of it will depend on the use the 
 playwright makes of the characters that come and go, and this in its turn 
 will be conditioned by the story that he -wants to tell. To illustrate by 
 anticipating results, the 'Oed. Col., which is ordinarily spoken of as low in 
 action, has but little under the number of entrances and exits normal to 
 Sophocles, and has just as many as the Track, and more than the Elec, 
 which would be called much higher in action. This gauge, however, is the 
 only one that can be applied, and it will not be misleading if we do not 
 attempt to draw conclusions from it as to individual plays. For as a gen- 
 eral proposition it will hardly be disputed that the amount of action in a 
 play will be reflected in the coming and going. 
 
 The tabulations given below show the number of entrances and exits 
 found in the tragedies of Aeschylus, Sophocles, Euripides, and Seneca, and 
 in the comedies of Aristophanes, Menander, Plautus, and Terence.^^ 
 
 =^ If two or more actors come on the scene or leave it together, this is counted as 
 one instance. ^. 
 
 °» Ernst Bodensteiner, "Szenische Fragen," Jahr. Clas. Phil. Suppl. 19, has proved 
 useful to me in the preparation of the data on Aeschylus, Sophocles, Euripides, and 
 Aristophanes. My aim has been to be as accurate as possible, but I must admit that 
 the tables may contain errors, since it is difficult in some instances to tell whether an 
 actor makes use of the door in the back-scene or the parodoi in entering and leaving 
 the scene of action. Another difficulty, especially true of Seneca's tragedies, is occa- 
 sioned by the fact that at times one can scarcely tell whether an actor remains on the 
 stage or leaves it. 
 
 49 
 
50 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 Use 
 
 of the back- 
 
 scene door and parodoi 
 
 by actors 
 
 
 AES.«° 
 
 ENTRS. BY D. 
 
 EXITS BY D. 
 
 ENTRS. BY P. 
 
 EXITS BY p. 
 
 TOTAL 
 
 Agam 
 
 6 
 9 
 4 
 
 
 
 
 7 
 6 
 1 
 
 
 • 
 
 4 
 3 
 
 9 
 5 
 
 8 
 6 
 
 2 
 3 
 9 
 4 
 
 8 
 6 
 
 19 
 
 Cho 
 
 21 
 
 Eum 
 
 23 
 
 Pers 
 
 9 
 
 Sep .. 
 
 16 
 
 Supp 
 
 12 
 
 Totals 
 
 19 
 
 14 
 
 35 
 
 32 
 
 100 
 
 
 
 Average , . 
 
 16f 
 
 
 
 SOPH. 
 
 ENTRS. BY D. 
 
 EXITS BY D. 
 
 ENTRS. BY P. 
 
 EXITS BY P. 
 
 TOTAL 
 
 Ajax 
 
 7 
 8 
 6 
 
 8 
 2 
 7 
 
 4 
 
 8 
 5 
 
 5 
 2 
 6 
 
 10 
 6 
 6 
 
 14 
 
 7 
 
 8 
 6 
 
 8 
 9 
 3 
 9 
 6 
 9 
 4 
 
 29 
 
 Antig 
 
 31 
 
 Elec 
 
 20 
 
 Oed. Col 
 
 23 
 
 Oed. Rex 
 
 26 
 
 Phil 
 
 21 
 
 Trach 
 
 ■ 23 
 
 
 
 Totals 
 
 38 
 
 30 
 
 57 
 
 48 
 
 173 
 
 Average 
 
 244 
 
 
 
 •<> No back-scene was employed in the four early plays of Aeschylus, ias Wilamo- 
 witz has shown once for all in "Die Buhne des Aischylos," Hermes XXI (1886), pp. 
 597 ff. All entrances and exits were made through the parodoi or side-entrances. 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 51 
 
 EUR. 
 
 ENTRS.BYD. 
 
 EXITS BY D. 
 
 ENTRS. BY P. EXITS BY P 
 
 TOTAL 
 
 Ale 
 
 Androm. . 
 
 Bac 
 
 Cyc 
 
 Elec 
 
 Hec 
 
 Hel 
 
 Heraclid . . 
 Here. Fur. 
 Hippol — 
 
 Ion 
 
 Iph. Aul.. 
 Iph. Taur. 
 
 Med 
 
 Or est 
 
 Phoen 
 
 Supp 
 
 Troad 
 
 [Rhe.fK... 
 
 7 
 7 
 5 
 8 
 7 
 6 
 9 
 3 
 5 
 3 
 4 
 8 
 7 
 5 
 5 
 7 
 
 6 
 [1] 
 
 7 
 2 
 5 
 8 
 9 
 2 
 7 
 1 
 5 
 8 
 3 
 8 
 8 
 7 
 6 
 3 
 
 2 
 [1] 
 
 6 
 
 6 
 
 10 
 
 3 
 
 8 
 7 
 7 
 7 
 5 
 8 
 9 
 9 
 7 
 9 
 7 
 7 
 9 
 8 
 [11] 
 
 5 
 6 
 
 10 
 2 
 
 7 
 10 
 6 
 7 
 3 
 7 
 8 
 10 
 5 
 9 
 7 
 8 
 8 
 8 
 [11] 
 
 25 
 21 
 30 
 21 
 31 
 25 
 29 
 18 
 18 
 26 
 24 
 35 
 27 
 30 
 25 
 25 
 17 
 24 
 [24] 
 
 Totals. 
 
 102 
 
 91 
 
 132 
 
 126 
 
 451 
 
 Average 
 
 25tS 
 
 ®^ Not included in totals and average. 
 
52 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 SEN. 
 
 ENTRS. BY D. 
 
 EXITS BY D. 
 
 ENTRS. BY P. EXITS BY P. 
 
 TOTAL 
 
 Agam 
 
 1 
 6 1 5 
 
 2 1 
 
 6 1 6 
 13 12 
 
 6 4 
 
 7 i ^ 
 
 6 
 
 5 
 
 8 
 
 1 
 
 6 
 4 
 5 
 3 
 6 
 [5] 
 
 3 
 4 
 6 
 1 
 6 
 3 
 5 
 2 
 4 
 [6] 
 
 20 
 
 Here. Fur 
 
 12 
 
 Here. Oet 
 
 26 
 
 Med 
 
 27 
 
 Oed 
 
 22 
 
 Phaed 
 
 19 
 
 Phoen 
 
 
 4 
 3 
 
 [8] 
 
 
 
 2 
 
 4 
 
 [5] 
 
 10 
 
 Thyes 
 
 11 
 
 Troad 
 
 17 
 
 [Octav.f^ 
 
 [24] 
 
 Totals 
 
 47 
 
 39 
 
 44 
 
 34 
 
 164 
 
 
 
 
 
 Average 
 
 18* 
 
 ARI8TOPH. 
 
 ENTRS. BY D. 
 
 EXITS BY D. 
 
 ENTRS. BY P. 
 
 EXITS BY P. 
 
 TOTAL 
 
 Ach. . . 
 
 Av 
 
 Eccl... 
 Eq.... 
 Lys... 
 Nub... 
 Pax... 
 Plut... 
 Ran . . . 
 Thesm . 
 Vesp. . 
 
 Totals. 
 
 14 
 
 8 
 
 9 
 
 11 
 
 22 
 
 21 
 
 15 
 
 9 
 
 8 
 
 7 
 
 15 
 
 139 
 
 13 
 
 9 
 
 5 
 
 8 
 
 11 
 
 16 
 
 13 
 
 7 
 
 7 
 
 5 
 
 11 
 
 105 
 
 21 
 22 
 15 
 
 4 
 10 
 
 4 
 
 5 
 12 
 
 6 
 11 
 10 
 
 120 
 
 16 
 16 
 8 
 6 
 5 
 4 
 7 
 6 
 5 
 15 
 6 
 
 94 
 
 64 
 55 
 37 
 29 
 48 
 45 
 40 
 34 
 26 
 38 
 42 
 
 458 
 
 Average 
 
 41t^ 
 
 •' Not included in totals and average. 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 53 
 
 MEN." 
 
 ENTRS. BY D. 
 
 EXITS BY D. 
 
 ENTRS. BY p. 
 
 EXITS BY P. 
 
 TOTAL 
 
 Epitr 
 
 13 
 
 11 
 
 9 
 
 11 
 12 
 10 
 
 7 
 6 
 3 
 
 10 
 
 5 
 
 1 
 
 41 
 
 Per 
 
 34 
 
 Sam 
 
 23 
 
 
 
 Totals 
 
 33 
 
 33- 
 
 16 
 
 16 
 
 98 
 
 
 
 Average ... ... 
 
 321 
 
 
 
 PLAUT. 
 
 ENTRS. BY D. 
 
 EXITS BY D. 
 
 ENTRS. BY P. 
 
 EXITS BY P. 
 
 TOTAL 
 
 Amph 
 
 • 
 
 7 
 
 9 
 21 
 14 
 10 
 20 
 
 5 
 13 
 12 
 11 
 11 
 21 
 
 9 
 14 
 15 
 
 8 
 21 
 15 
 11 
 13 
 
 11 
 
 7 
 20 
 13 
 10 
 22 
 
 7 
 
 9 
 13 
 11 
 
 9 
 22 
 
 9 
 14 
 13 
 11 
 22 
 13 
 10 
 15 
 
 7 
 
 6 
 
 8 
 
 10 
 
 8 
 
 5 
 
 6 
 
 7 
 
 8 
 
 13 
 
 14 
 
 5 
 
 11 
 
 8 
 5 
 
 10 
 
 12 
 
 5 
 
 5 
 
 9 
 
 5 
 
 5 
 
 7 
 9 
 9 
 3 
 6 
 
 11 
 
 10 
 
 5 
 
 10 
 
 4 
 5 
 
 7 
 
 7 
 8 
 
 30 
 
 Asin 
 
 27 
 
 Aul 
 
 56 
 
 Bacch 
 
 46 
 
 Capt 
 
 37 
 
 Cas 
 
 50 
 
 Cist 
 
 24 
 
 Cure . . 
 
 35 
 
 Epid 
 
 39 
 
 Men 
 
 46 
 
 Merc 
 
 44 
 
 Mil 
 
 53 
 
 Most 
 
 39 
 
 Pers 
 
 41 
 
 Poen 
 
 37 
 
 Ps 
 
 34 
 
 Rud 
 
 62 
 
 Stick 
 
 36 
 
 Trin 
 
 33 
 
 True 
 
 45 
 
 
 
 Totals 
 
 260 
 
 261 
 
 162 
 
 131 
 
 814 
 
 • Average 
 
 40A 
 
 
 In Menander's plays only the cases actually testified to in our text are counted. 
 
54 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 TER. 
 
 ENTRS. BY D. 
 
 EXITS BY D. 
 
 ENTRS. BY P. 
 
 EXITS BY P. 
 
 TOTAL 
 
 Ad 
 
 17 
 13 
 19 
 20 
 14 
 13 
 
 18 
 
 20 
 
 20 
 
 17 
 
 16' 
 
 13 
 
 12 
 16 
 17 
 
 8 
 
 5 
 
 12 
 
 8 
 
 10 
 
 10 
 
 5 
 
 7 
 9 
 
 55 
 
 And 
 
 59 
 
 Eun 
 
 66 
 
 HscLut' . ... 
 
 50 
 
 Hec 
 
 42 
 
 Phor 
 
 47 
 
 
 
 Totals . 
 
 96 
 
 104 
 
 70 
 
 49 
 
 319 
 
 
 
 Average 
 
 53^ 
 
 
 
 The average of 16f in Aeschylus is not to be taken as a true one but 
 only as a mean between the low average of 12 J in the three plays without 
 a back-scene {Pers. 9, Sep. 16, Supp.. 12) and the relatively high one of 21 
 in the three plays of the Oresteia {Agam. 19, Cho. 21, Eum. 23). The use 
 of the back-scene is accompanied by a great increase in the amount of action. 
 In the Eumenides {IS: 5) the parodoi are used much more than the door; 
 in the Agamemnon (13: 6) and the Choephori (15: 6) most of the action takes 
 place through the door in the back-scene. 
 
 The average amount of action in Sophocles (24f ) and Euripides (25tV) 
 is approximately the same, and much greater than the average amount in 
 Aeschylus (16f); greater even than the amount in the Eumenides (23), his 
 highest drama. The average in Sophocles and Euripides is much more 
 representative: five plays {Ajax 29, Oed. Col. 23, Oed. Rex 26, Phil. 21, 
 Track. 23) in the former and eleven (Ale. 25, Androm. 21, Cyc. 21, Hec. 25, 
 Hel 29, Hippol. 26, Ion 24, Iph. Taur. 27, Orest. 25, Phoen. 25, Troad. 24) 
 in the latter fall between 21 and 29. Extremes for Sophocles are the Anti- 
 gone (31) and the Electra (20), for Euripides the Iphigenia in Aulis (35) 
 and the Suppliants (17). 
 
 The plays without a back-scene in Sophocles (Oed. Col. 23) and Euripides 
 {Supp. 17) are higher in action than the corresponding plays {Pers. 9, Sep. 
 16, Supp. 12) of Aeschylus. The Philoctetes of Sophocles, the Heraclidae of 
 Euripides, and the Rhesus make little use of the back-scene. In the Phi- 
 loctetes practically all of the action takes place between the cave and the 
 ship that has come to convey Philoctetes to Troy, and for this reason the 
 use of the door in the back-scene for entrances and exits is reduced to a 
 
USE OF STAGE-DOOR IN THE PLAYS 55 
 
 minimum. The same is true of the HeracUdae, there being in this drama 
 only three entrances (11. 474, 642, 720) and one exit (1. 698) through the 
 door; the rest of the action takes place through the parodoi. In the Rhesus, 
 Hector's tent constitutes the back-scene. In 1. 11 he is awakened and comes 
 upon the scene. From then on nothing in the action requires any actor 
 to enter the tent until Hector does so at the close of the drama. In Eurip- 
 ides' Cyclops nearly all the action takes place through the door leading to 
 the back-scene and thus makes it necessary to use the parodoi but httle. 
 
 Aside from the plays that have been mentioned, Sophocles and Eurip- 
 ides are consistent with one another and vary from Aeschylus in using both 
 means of ingress and egress to about the same extent. With the exception 
 of the Oedipus Coloneus and the Philoctetes which have been discussed, 
 Sophocles has in his other five plays 64 entrances and exits by the door and 
 65 by the parodoi. Euripides has in fifteen plays (the Cyclops, the Hera- 
 clidae, and the Suppliants have been treated) 175 entrances and exits by the 
 door and 222 by the parodoi. 
 
 In Aeschylus, Sophocles, and Euripides the entrances (54-95-234) out- 
 number the exits (46-78-217) and this is due in the main to the fact that 
 actors enter singly and go off in pairs and groups. In Aeschylus the exits 
 are to the entrances as 85:100, in Sophocles as 82:100, and in Euripides, 
 excepting the Cyclops, the HeracUdae, and the Suppliants, as 94:100. The 
 proportion for the fifteen Euripidean plays would seem to indicate that 
 Euripides is inclined to send his characters off one by one. 
 
 The "formula" for a normal play in Sophocles and Euripides would be 
 something like 7:6:6: 6-25 or 6 : 6 : 7 : 6-25. Any one play of course diverges 
 more or less from this formula. In the Hippolytus (3:8), for instance, the 
 number of entrances through the door is much less than the number of 
 exits. The cause of this divergence is evident. Hippolytus' attendants first 
 enter (1. 58) the scene by a side-entrance. They go into the house (1. 108 f) 
 and do not return through the scene-door (1). The nurse leaves (1. 170 f) 
 the house once with Phaedra and her attendants and once (1. 601) with 
 Hippolytus, but reenters (11. 524 and 708) it both times alone (2). Hippo- 
 lytus enters (1. 113) the house alone but leaves it (1. 601) in company with 
 the nurse (1). Theseus first enters (1. 790) the scene by a side-entrance. 
 He enters the house twice (11. 1089 and 1461) and leaves it (1. 1156) but once 
 (1). This accounts for the difference of five. 
 
 In the Andromache (7:2) the preponderance is on the other side. 
 Andromache at the beginning (1. 1) of the drama comes from the house alone 
 but reenters it (1. 463) with Menelaus and Molossus (1). A servant first 
 
56 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 enters the scene of action from the house (1. 56), departs (1. 90) by a side- 
 entrance, and does not return (1). When Hermione, who is in the house 
 at the beginning of the play, comes from it the second time (1. 823 f), she 
 leaves the scene of action by a side-entrance (1. 1008) and we hear of her no 
 more (1). Menelaus, who first enters (1. 309) the scene by a side-entrance, 
 goes into the house with Andromache and Molossus (1. 463) but leaves it 
 (1. 802) alone (1). The nurse, who is in the house to begin with, leaves it 
 (1. 802) and does not reenter it (1). Thus we have accounted for the five. 
 
 The entrances and exits through the parodoi practically balance each 
 other, even more so than the entrances and exits through the scene-door. 
 The divergence between the two in some dramas, e.g., the Electra (6:3) of 
 Sophocles and the Hecuba (7: 10) may be readily accounted for in the same 
 way as noted in the two preceding paragraphs. 
 
 We find then in Sophocles and Euripides a consistent technique; this, 
 however, as we have seen is not true of Aeschylus. In Seneca there is noth- 
 ing like a consistent technique in any direction. He represents a retrogres- 
 sion and has in action an average of only 18. Only three of his plays {Here. 
 Oet 26, Med. 27, Oed. 22) approximate the average in Sophocles and Euripides, 
 while three {Here. Fur. 12, Phoen. 10, Thyes. 11) are very low. Seneca is 
 also inconsistent in his use of the door (86) and the parodoi (78), a propor- 
 tion of 90: 100. 
 
 Comedy of course is much richer in action than tragedy, and we find 
 this clearly reflected in the amount of coming and going. The average 
 number of exits and entrances in Aristophanes, for instance, is a little more 
 than 41, which, compared with the average of 25 in Euripides, gives a ratio 
 of nearly 5 to 3. 
 
 Let us next compare Aristophanes or the Old Comedy with the New 
 Comedy, obtaining our statistics for the latter by combining those from 
 Plautus with those from Terence. Against the average of 41 in Aristophanes 
 we find in the New Comedy as represented by Plautus and Terence an 
 average of a little less than 44. As far as we can determine then, the Old 
 Comedy and the New were approximately equal in action. On the whole, 
 the door (22) and the parodoi (19 rr) in Aristophanes balance each other, 
 but in most of the plays one or the other means of entrance and exit pre- 
 ponderates more or less. In the New Comedy, as shown by the figures 
 from Plautus and Terence, the use of the door is throughout much greater 
 than the use of the parodoi, for the average number of exits and entrances 
 by the door is 28 as against 16 by the parodoi, a proportion of 7 to 4. In 
 Aristophanes the number of entrances (259) overbalances the number of 
 
USE OF STAGE-DOOR IN THE PLAYS 57 
 
 exits (199) conspicuously. This is not the case in the New Comedy (588: 
 545). In fact, the exits (365) by the door outnumber the entrances (356) 
 by the door. The reason is that most of the people employed in a play 
 belong in one or other of the houses in the back-scene, and when they have 
 finished their turn they go into the house, though they may have originally 
 come upon the scene through the parodoi. In other words, the house is 
 used as a convenience for eliminating the useless actor after his work is done, 
 because he can go into the house without any special motivation such as 
 would be required if he should make his final exit by the parodos. 
 
 The low averages in the Menandrian plays are due to their fragmentary 
 condition. The Periceiromene, the Epitrepontes, and the Samia, in their 
 present form, have 66 entrances and exits through the door and 32 through 
 the parodoi, in all 98, giving an average of 32| for each play. The three 
 dramas now contain about 1400 lines, which is probably about one-half the 
 number of lines in the plays as written by Menander. If we assign to the 
 lost portions as many entrances and exits as there are in the parts extant, 
 then the plays in their original form averaged 65J entrances and exits. This 
 number is probably too large, but it indicates, at least, that Menander's 
 average in these plays was conspicuously above the average of 44 in the 
 New Comedy as a whole. 
 
 This estimate is borne out by the Plautine (Aul. 56, Bacch. 46, Stick. 
 36)®^ and Terentian {Ad. 55, And. 59, Eun. 66, Heaut. 50) dramas based upon 
 Menandrian originals; in the seven plays there are 368 entrances and exits 
 through the door and the parodoi, or an average of 52y. High as it is, this 
 does not do full justice to Menander, for the beginning of the Bacchides is 
 lost and most of the action in the Stichus seems to have been sacrificed by 
 Plautus. Without these two plays, the average is ovier 57. As the average 
 of the non-Menandrian plays in Plautus and Terence is but 41, it is evident 
 that Menander was exceptionally rich in action as compared with the other 
 poets of his day. 
 
 Diphilus was also high if we may judge from Plautus' Rudens (62) and 
 Casina (50). Philemon, however, was low for the Plautine plays based upon 
 originals written by him (Merc. 44, Most. 39, Trin. 33) average only 39. 
 This is a poor showing as compared with Menander, even if we restrict the 
 comparison to the three Menandrian plays (Aid. 56, Bacch. 46, Stick. 36) 
 of Plautus: the former have only 116 entrances and exits while the latter 
 have 138. Demetrius (Uepl 'Epfirjveias, 193) remarks that Menander was 
 
 ^* The Cistellaria (24) is so fragmentary that it has been left out of account. 
 
58 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 popular with actors, Philemon with readers and ascribes this to the asyn- 
 detic^^ style of Menander which lends itself well to acting. It may well 
 have been due also to the greater amount of action in Menander. It is 
 worth noting that Plautus' lowest play is the Asinaria (27), which is based 
 upon an original by Demophilus. 
 
 The disparity between the averages in Plautus and Terence is notice- 
 able. Since Plautus probably made less use of contaminatio than Terence, 
 one might be inclined to ascribe the divergence to this source, arguing that 
 in the Andria (59), Eunuchus (66), and Adelphoe (55) the average number 
 of entrances and exits is 56 f, while the other Terentian plays, free from 
 contaminatio, average only 46 J. But the Heauton (50), which is an uncon- 
 taminated play, exceeds in its, figures the Hecyra^^ (42) which may be con- 
 taminated. Besides the Miles Gloriosus (53), the one Plautine play that 
 has the surest signs of contamination, is lower in its figures than the Rudens 
 (62) which is probably uncontaminated.^^ Furthermore, the Poenulus (37), 
 which is usually considered contaminated, is rather low in its figures. 
 
 It has been shown that the discrepancy between Plautus and Terence is 
 not due to contaminatio. Therefore, as the plays are not original in either 
 case, the divergence between their averages must be due to different prin- 
 ciples of choice. It is due primarily to the fact that Terence liked Menander 
 and based upon Menandrian originals a much greater per cent of his plays 
 than Plautus did. The average number of entrances and exits in Terence's 
 Menandrian plays (And. 59, Eun. 66, Ad. 55, Heaut. 50) is 57J, while the 
 other two (Hec. 42, Phor. 47) average only 44^. It is therefore fair to say 
 that Terence wanted plenty of action, and that his choice of Menander was 
 in part at least determined by the fact that Menander was high in action. 
 Plautus was careless, apparently taking the first play that came to hand. 
 
 VOCABULARY USED IN ENTRANCES AND EXITS 
 
 We now present in tabulated form the words and expressions used in 
 connection with entrances upon the scene of action and exits from it both 
 through the door in the back-scene and by the parodoi. These are grouped 
 alphabetically and show the frequency of each word and expression in each 
 author and the frequency of the different words and expressions. For Aes- 
 
 "' On Asyndeton in Menander, see A. Warren Wright, Studies in Menander, 1911, 
 pp. 85 ff. 
 
 «« See Dziatzko, Rh. Mus. XXI, pp. 80 ff. 
 
 *^ See Cornelia C. Coulter, "The Composition of the Rudens oi Plautus," Clas, 
 Phil. (Jan., 1913), pp. 57 ff. 
 
USE OF STAGE-DOOR IN THE PLAYS 59 
 
 chylus, Sophocles, Euripides, Aristophanes, Menander, Plautus, Terence, and 
 Seneca the fragments have been consulted as well as the extant plays. In 
 these tables we have enumerated under the heading ''fragments" all other 
 words and expressions for entrances and exits that are found in Nauck's and 
 Kock's collections of Greek tragic aud comic fragments and Ribbeck's col- 
 lection of Latin dramatic fragments. 
 
 Since it would be tedious and unnecessary to enter into a detailed dis- 
 cussion of each word and expression found in these tabulations, we shall 
 briefly state only the general results that may be deduced from them. 
 
 I. Entrance upon the scene of action through the door in the back- 
 scene: kXdelv (67), levac (46), and ^aiveiv (25), usually with some form of be, 
 occur most frequently to denote the actual entrance. These verbs are some- 
 times accompanied by bevpo, eKeldev, evbodev, dvpa^e, oiKodev, irapoiBe, wapos, irpbade, 
 and a few other adverbs. We also find 4)kpeLv (66) and Xdireiv (40); the 
 former usually implies that the entrance is to take place (e.g. Aristoph. 
 Eq. 95: dXX' k^heyKe p.oi raxecos olvov xoa. cf. Eq. 110, Nub. 19); the latter 
 always indicates that the entrance has already occurred (e.g. Eur. Troad. 
 176: otfiOL. rpoixepa aKTjvas eXiirov.). 
 
 II. Exit from the scene of action through the door in the back-scene: 
 levaL (106), eXdelv (103), ayeLv (46), and ^aiveiv (27), usually with some form 
 of els («, e'iao), eao), hros), are generally used. Sometimes €kto8o)v is used 
 with them. 
 
 III. Entrance upon the scene of action by the parodoi: ekOelv (73), 
 riKeLv (56), (TTelx€Lv (31), Ukadai (16), and ^alveiv (15) are generally used, 
 usually with the preposition wpos. In connection with the verbs aao-ov, 
 devpo, ttclXlv, irdpos, TreXas, and t\tj<tlov sometimes occur. 
 
 IV. Exit from the scene of action by the parodoi: Ikvai (89), kXdelv (34), 
 o-retxetv (29), x^P^i^ (23), and ayetv (19) are generally employed. The prep- 
 osition usually used is awo. There sometimes occur with these words 
 tKeldev, kvdevSe, dvpa^e, and x^P^-^- 
 
 As one would expect, then els (into)^^ and k (out of)^^ are used with 
 reference to the house, and Tpos (to) and cltto (from) with reference to the 
 parodoi. 
 
 ^^ See Droysen, Quaestiones de Aristophanis re scaenica, pp. 8 f. : "Exemplis 
 primo loco (I a et b) congestis facile est intellectu verbis elatkvai, — epx€<rdat, — fialvecv — 
 a7€H' KTt histriones domum quendam intrantes scaenicam se relicturos esse indicare, 
 e^ievat;— epx€<r0at — &7€tv /ere verbis se in pulpitum prodire ex aedibus egredientes, simi- 
 lemque eicrw et e^w adverbiorum usum extare, evhov vocabulo 'post scaenam' scilicet 'in 
 aedibus' significare." See also Bodensteiner, "Szenischen Fragen," Jahr. Clas. Phil. 
 Suppl. 19, p. 652, who adopts Droysen's conclusions. 
 
60 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 The meaning of els (into) and k (out of) prevent their being used ordi- 
 narily in connection with entrances and exits by the parodoi respectively, 
 because in this connection there is nothing to ^'go into" or "go out of.'^ 
 In the Greek drama there are many passages in which els and k are used 
 as exceptions to the general rule that irpos and awo are employed respec- 
 tively in entrances and exits by the parodoi. These exceptions fall into two 
 categories: I. proper uses; II. improper uses. The prepositions els and 
 eK are used properly when they cannot be taken to refer directly to enter- 
 ing or leaving the space in which the actors are performing, i.e., the orchestra. 
 They are used improperly when they cannot be taken to refer to anything 
 but the orchestra. Such instances may be called improper because they 
 violate the illusion, much as if a modern actor should refer, either directly 
 or by implication, to the fact that he is on the stage (e.g.; by speaking of 
 ^'coming on" or "going off" in connection with his entrance or exit. Proper 
 uses of els and k are not uncommon in the drama as a whole; improper uses 
 would not be expected to occur in tragedy and as a matter of fact do not 
 occur there; they arje confined to Aristophanes, where the illusion matters 
 little to the playwright. 
 
 Since all examples outside of Aristophanes belong to I., whereas of those 
 in Aristophanes some belong clearly to I., some to II., and some fall on the 
 line, it will be better first to discuss and classify as instances of I. all those 
 outside of Aristophanes and then discuss those in Aristophanes together. 
 
 Under I. we shall group the cases, not according to the preposition used, 
 for that is not the significant thing, but according to the way in which the 
 use of els or k is justified. Under I. we make these groups: 
 
 (a). The motion is thought of as ending in or starting from the house: 
 Aes. Eum. 179: e^oi KeXevco, rHovbe doifxarcov raxos \ x'«'P€tr€, airaXkdaaeade fxav- 
 TiKcav fxvxoiiv. Eur. Bac. 1165 ff.: d\X* ela-opcb yap es do/jiovs bppLWfievq \ Hevd'edis 
 *kyavri nrjTep' ev 8LaaTp6<f)OLS \ ocraois. Cyc. 85 ff.: Sil. 6pcb irpos d/crats vaos 
 'EXXdSos (TKa<f)Os | accotttjs r' avaKTOS aifv (TTparrfKaTxi tlvI | arelxovTas ets t65' tvrpov. 
 Hippol. 659 f . : vvv 8' U Sofxcov tx'ev, ear &v eKdrj/nos x^ovos Orfcrevs, aweLjiL. 
 
 (b). The motion is thought of as beginning or ending where the action 
 is going on, but the delimitation of place necessary to justify the use of 
 the preposition els or k is supplied by the playwright (cases like es TeSov, 
 els t6v T&irov, es olkpotttoKlv , eK rccv8e, etc.) : Aes. Prom. 1 : x^o^<^s Mc^ « -niKovpov 
 ^KOfxev Tredov. Sep. 239 ff. : TroTi(t>aTov KXvovaa irkrayov avajxiy jxa rap^avvo) 
 
USE OF STAGE-DOOR IN THE PLAYS 61 
 
 (f>6^q) Tav8' es clkpotttoKiv, \ tL/jllov edos, iKo^av. Prom. 1058 ff. : dXX' oivv vfiels 7' 
 at Trr]iJLO(TvvaLs | dvyKanvovaaL rats rovBe tottoov \ nera Trot x^P^l^* €k roivbe Oocos. 
 Eur. Orest. 1311 ff. Ch. crLydre (nydr . riadoiM'qv ktvttov tlvos KeXevdov elaireaovTOs 
 6Lii<f)l dcofiara. El. co (piKraraL yvvalKes, els fiecTov <f)6vov \ ^8' ^Epfxiovrj irdpecm. 
 Heraclid. 257: <tv 8' k^opL^e, Kq,T eKeWev a^ofxev. Rhe. 595 f. : irol 8ri XuTrovTes 
 TpoiLKO)v eK rd^ecov \ x^P^tre. Hippol. 53: e^03 Tcbv8e ^-qcroixai T&ircav. Cyc. 99: 
 Od. ^po/jLLov TTpXiv eoiyfiep els ^aXelv. Men. (Korte, 2d ed. fah. inc. p. 211, 11. 
 34 f .) : Lc^nev, cos /cat iieLpaKvWlojv oxXos \ els tov totov tls epxeB* viro^e^pevnepcov. 
 Soph. Oed. Col. 36 f. : irplv vvv rd irXeiova l(TTOpelv, e/c Triu8* Upas \ e^eXOe. 1. 45: 
 cos ovx e8pas yrjs Tri(r8' dv e^eXBoip.' ert. 11. 176 f. : ov rot firjTOTe a €/c rcoj^S' 
 eSpdvojv, I CO y'epov, aKovrd rts a^et. 1. 233: av 8e Tcbv8' eSpdvcov ttoXlv eKTOiros. 
 11. 263 f . : Kafiotye irov ravr earlv, otrLves (Sddpoiv [ eK rchvbe p.' e^dpavres elr eXav- 
 vere. 1. 824: x^P^^j ^^^'j '^k^ Bdaaov. 1. 826: iplv dv elrj TrjvSe Kaipos e^dYeti/ | 
 aKOvcrav, el deXovaa p,ri TTopeverac. 11. 866 f. : aj KaKiare, ypCXbv bp,p dTOcnrda'as \ 
 irpos op.iia(nv rots Trpoadev e^otxet. 
 
 (c). The delimitation is easily supplied by the audience (k rTJs TroXecos is 
 understood). Soph. Oed. Col. 11. 47 f. : dXX* ov8' ep.oi tol Toh^avidTdvai TroXecos | 
 5tx' eo-rt Odpaos. Elec. 75 : vch 8' e^L/iev, Eur. Troad. 1047 f . : Xeyco 8e TrpocrTroXotcrt 
 TTpos TpvfjLvas v'eoiv I T'qv8* eKKop.l^eLv. Phoen. 615: e^Lp.ev. 1. 759 f . : Trju 8b(nv 5' 
 exeyyvov \ T7]v irpoade Trotco vvv eT* e^oSoLs efxals. Ale. 609 f. : vpels 8e Trjv davovaav, 
 cos vopl^erai, \ xpocretxar* e^iovaav v(TTdrr]v 686v. 
 
 (d). The following passages contain eKTro8o}v and therefore they are not 
 to be regarded as having a technical or scenic significance: Soph. Antig. 
 1321: ayere p,' ort rdxto'T*, dyere p eKTro8wv. 1. 1339: a7otr* dv pdraLov dv8p' 
 eK7ro8cov. Eur. Bac. 1148 f. : eyoi pev ovv Tfi8' eKiro8(j)v rfj ^vp(f)Opq. \ aireLpi. Hee. 
 52 f . : yepaiq. 5* eKiro8oiv x^PV^^f^^'^ ^^Kd^-Q. 
 
 (e). Two passages contain kros which is practically the equivalent of 
 eKTro86iv and therefore is not to be regarded as having a technical or scenic 
 significance. Soph. Oed. Rex 676: ovkow p edaei^s KdKTos el; Ajax 369: ovk 
 e/cros; OVK dxj/oppov eKvepel Tr65a; 
 
 (f). One passage contains cTret(ro5os, but it has no scenic connotation: 
 Soph. Oed. Col. 728 ff. : dv8pes x^ows r^orS' euyei'ets oUrjTopes, \ opo) tlv vpds 
 oppdroov elXr](l)6Ta | ^6(3ov veooprj ttJs epijs kweL<r68ov. 
 
 ARISTOPHANES 
 
 I 
 
 (a). Not of scenic connotation as there is something to delimit some 
 particular part of the stage (e.g. es riiv dyopdv) : Eq. 146 f . : dXX' 681 Tpotr- 
 
62 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 €px€rat cba-Tep Kara deov eis ayopav. Ach. 725: hravda ix-qre (TVKOcfyavTrjs elalTca. 
 1. 839: KCLV ela-iri tls KTrjaias. 11. 876 f . : oxrTrepet x^'-f^^^ ^P^ \ opvLdlas es tyjv 
 ayopav eKrjXvdas. 824 f . : ayopavofiOL, \ tovs avKocjiavTas ou Ovpa^e e^elp^ere. (In 
 the passages just quoted from the Archarnians the argora of Dicaeopolis 
 is referred to.) 
 
 (b). Av. 991: oJjkovv erepcocre xP^<^Mo^oT'70"€ts eKTpex(f3v. In this passage U 
 has no scenic connotation but, as erkpcaae shows, is equivalent to k rovSe tov 
 TOTTov, In Vesp. 891: el tls Bvpa<n.v riXLaa-rrjs, da-iro) may be formulaic, the 
 language being borrowed from the courts without reference to its exact 
 appropriateness. 
 
 II 
 
 (a). Improper use, for there is no agora and no limitation of the scene 
 other than the boundaries of the orchestra: Pac. 1050: ovk, aWa Kara riiv 
 Kvlaav ela-eXrjXvdev. This refers to Hierocles' entrance upon the scene of 
 action. Plut 872 f. : cos o-o^apds, co Aafxarep, elcrekrjXvdev \ 6 crvKOcfyaTrjs. Av. 
 1168 f. : dW ode (jivXa^ yap rccv eKeWev ayyeKos \ kadel irpos '^fxas 8evpo Trvpplxv^ 
 ^Xewajv. This use of eadel seems to be scenic, since the Guard's entrance is 
 just like any other entrance of a messenger. 
 
 (c). Improper use : the passages are from the words of the chorus. Either 
 els Tr]v dpxvo'Tpav or eK ttjs bpxv^rpas is to be supplied: Vesp. 1498 ff. : €t tls 
 Tpayoobbs (})r]aLv opxeladaL /caXcos | e/iol 8LOpxv(^<>/j,evos evBab' elatTco. Vesp. 1535 f. : 
 dXX' e^ayeT, el tl <f)LXelT' dpxovjJLevoL, Ovpa^e \ 17/xds Taxv- Nub. 1510: riyelaO' e^ca. 
 
 (d). Improper use, as k can hardly be explained otherwise than by sup- 
 plying eK Tris bpx'hcTTpas or eK tov deaTpov. Eq. 1407: KaKelvov €/c</)eperco tls cos 
 eirl Tr)P Texvrjv. Ach. 1139: eydi de doipiaTLOv Xa^oov e^epxopLaL. 1. 1222: Ovpa^e 
 p.* e^ev'eyKaT es tov IltTrdXou. 
 
 ROMAN DRAMA 
 
 I. Entrance upon the scene of action through the door in the back-scene: 
 ire (181), egredi and progredi (60), ferre (41), and ducere (45) are generally 
 used. In connection with these verbs some form of ex is usually employed 
 but ahs (ah, a) is also frequently found. For as (foris) often occurs in con- 
 nection with the verbs. Hue (to this place), illim, (thence), exinde {thence), 
 hinc (thence), istinc (thence), and intus (from within) are also found. 
 
 II. Exit from the scene of action through the door in the back-scene: 
 ire (495), ducere {S9), sequi (84), venire {47), ferre (37), and mittere (33) are 
 usually employed. Intro and in (sometimes intus) are very often used in 
 connection with these verbs. Hinc (hence) and ad se (to oneself) often occur 
 and hac (this way) is sometimes found. 
 
USE OF STAGE-DOOR IN THE PLAYS 63 
 
 III. Entrance upon the scene of action by the side-entrances: venire 
 (305), ire (103), esse (58), and ducere (53) occur most frequently, usually ac- 
 companied by ad (ac) . Hue (to this place) is frequent and there also occur 
 hac (this way), advorsum (to go to meet), eccum (behold him), and some 
 other such words. 
 
 IV. Exit from the scene of action by the side-entrances: ire (423), duc- 
 ere (40), sequi (4:0),mittere {S5),fugere (24), and /erre (20) usually occur. The 
 preposition generally used is some form of ah. Hinc (hence) is frequent; 
 hac (this way) is now and then used. 
 
 So then in the Roman drama some form of in (in, intro, intus) meaning 
 ''into" and ex or e (out of) are usually used with reference to the house and 
 ad (to) and ah, abs, or a (from) are employed with reference to the side- 
 entrances. 
 
 I 
 
64 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 /. Words and expressions used at the entrance of an actor upon the scene of 
 action through the door in the hack-scene in the Greek drama 
 
 &yeLv (12) 
 
 a7€t^ CLTTO 
 
 ayeiJ' e/c 
 
 ayeLV wpo 
 
 €^d7€ti/ 
 
 e^dYeti/ eK 
 
 h^aynv Ovpa^e 
 
 atacreLv (6) 
 
 at(T<T€LV 
 
 ataaeiv e/cros 
 
 k^alaaeLv 
 
 viralcraeLV 5ta dvpcov 
 
 a'ipeLv (4) 
 
 ^alp€LV 
 
 afiel^ecv (3) 
 
 afiei^eLV + Acc 
 
 biap.d^eiv Sco/idrcoi' bbov . . 
 
 laravaL (3) 
 
 avLcrravai 
 
 a<f)L<TTavaL aTeyrjs 
 
 k^aVLffTCLVaL 
 
 iL7raK\a(T<T€Lv (1) 
 
 apwa^eLv eK ttJs oUlas (1) . . 
 a4>L€vaL (1) 
 
 fia8l^€t,p (2) 
 
 0a8l^€LV dvpa^e 
 
 0a8i^€LV ^u) 
 
 AES. 
 
 SOPH. 
 
 I ^ 1 
 1 
 
 EUR. ARIST. 
 
 MEN. FRAGS. 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 65 
 
 ^alveip (25) 
 ^aiveLV eK . . . . 
 ^aiveiv e^co. , . 
 ^alveiv Trpocrde. 
 eK^aiveiv 
 
 kK^alvetv Trpo. . 
 Kara^aiveLV . . . 
 irpo^alvtiv €^. . 
 VTrep^aiveiv . . , 
 
 kK^L^a^€lV (2) 
 
 eKbpavaL (1) 
 
 eKKVKkeiv (3) 
 
 eKKVirreLV (l) 
 
 e/cXaTrdfeti' (1) 
 
 €K\LHTraveLV (2) 
 
 kKiTLTTeiv dvpa^e (l) 
 
 kKTTTjddv (l) 
 
 eKTroTaadai (l) 
 
 eKTTTrjo-o-eLV (l) 
 
 eKTpuTrdv (1) 
 
 tKavvuv (4) 
 e\avv€Lv eK. 
 e^eXavveLV . 
 
 kXdelv (67) 
 
 kXdelv diro 
 
 eXdelv eK 
 
 eXdelv e^co 
 
 eXdelv Bvpalov . . . . 
 
 ekSelv irdpos 
 
 ekdelv irpos e^odovs 
 
 e^eXdelp 
 
 e^eXdelv eK 
 
 4 
 1 
 
 2 
 
 12 
 
 ARIST. 
 
 26 
 
 1 
 
66 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 irapeXdelv 
 
 k^aWeadaL (l) . 
 e^eprjfiovy (2) . . 
 €^Ik€lv (1) .... 
 
 e^odoL (7) 
 
 k^odoLTTOpelp (1) 
 
 epireiv (4) 
 
 e^epweLv 
 
 k^epireLV eK . . . . 
 e^epweLV dvpa^e. 
 epirv^eLV dvpa^e 
 
 eppeiv airo 
 
 5(1). 
 
 riK^LV (4) 
 
 7iK€iv els irpovoiTTLa. 
 
 TJKeiv eK 
 
 ^K€LV eKeWep 
 
 TraprjKeLV evbodev €^co. 
 
 edv (3) 
 
 kiSelv 
 
 €Kdelv evbodtv 
 delv e^ . . . . 
 
 Boa^eLv devpo (1). 
 
 Ihai (46) 
 
 OLTnevat airo , . 
 
 OLTnkvaL €K . . . . 
 
 awLtvaL evbodtv 
 dirievaL dvpa^e. 
 k^LevaL 
 
 AES. 
 
 SOPH. EUR. 
 
 ARIST. 
 
 1 
 
 1 
 
 10 
 
 MEN. 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 67 
 
 SOPH. 
 
 EUR. 
 
 ARIST. 
 
 FRAGS. 
 
 e^ihaL €^co 
 
 e^tevaL dhpa^e 
 
 k^ikvoLi wdpoide 
 
 ikvai, eK 
 
 UvaL eKTos 
 
 TTpoikvai dvpa.cn irpos. 
 wpouvaL 
 
 KoKelv (17) 
 
 KoKelv evSoOev. . . 
 
 KoXelv 'i^(i3 
 
 KoXelv eir' e^odois 
 KoXelv dvpa^e . . . 
 iKKokdv 
 
 KOjii^eiv (9) 
 
 eKKOiil^eLV , 
 
 eKKOfxl^eLV e/c . . , 
 KOfil^eLv eK . . . , 
 Koiil^uv evboOev. 
 
 KOfJLL^eLV €^. . . 
 
 \aiJ,^dv€LP (6) 
 
 \aix^av€iv evdodev . ... 
 
 \afjL^dv€LV eK 
 
 TTpoKoLH^aveLV iroba eK 
 
 Xv^ecTdaL e^o) (1) 
 
 XelireLV (40) 
 
 eKXelTeup 
 
 eKXeiireiv eK 
 
 XeiweLv 
 
 Xeiweiv devre 
 
 XeLTreiv eK 
 
 KaroKeiTreiv 
 
 TTpoXeiireiv 
 
 1 
 
 1 
 
 12 
 
 1 
 18 
 1 
 2 
 1 
 
68 
 
 HOUSE-DOOK ON THE ANCIENT STAGE 
 
 SOPH. 
 
 fjiokelv (6) 
 
 fjiokelv 
 
 fioKelv 8evpo 
 
 HoKelv €/c 
 
 yLo\dv c^ 
 
 iwKtiv TpobpoyLos 
 
 oiarpav eK doficov (1) . . . . 
 
 otx^O^CLL €K 861MOOP (2) ... 
 
 olx^^lv dvpaxov (1) 
 
 bpiiav (3) 
 
 h.<f>opp.av eK 
 
 k^opfidv airb 
 
 naTelv BwyLaTWv irvKas (1) 
 
 TefiweLV (22) 
 
 SvaireiJLWTOs e^ 
 
 kKTrkfjLTetv 
 
 iKTrkpLireiv €kt6s 
 
 tKirkinrHV irpb 
 
 irkiXTTtiv airo 
 
 TrefiTetv €k 
 
 irkinreiv iroba e/c 
 
 Teinretv e^co 
 
 irpOTrklXTTHV 
 
 irepdv (14) 
 
 eKTrepajjLa dojfidrwv . . . . 
 
 eKwepdv 
 
 TT€pdv + Acc 
 
 irepdv ttTTO 
 
 irepdv eK axpoppos 
 
 irepdv c^co 
 
 irepdv viro aKtivrjs irbba 
 
 iropeveadai (7) 
 
 eKTTOpeveffB ai 
 
 EUR. 
 
 ARIST. 
 
 MEN. 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 69 
 
 EUR. j ARIST. MEN. 
 
 i 
 
 FRAGS. 
 
 eKTTopeveadaL e^c^dev . 
 
 ■Kopeveadai e/c 
 
 TOpevecrdai e^ 
 
 pLTTTeLV eKTOS (l) 
 
 aeveadaL (4) 
 
 eKaeveadac 
 
 aeveadaL 
 
 (Teveadat a4> earlas . 
 (TeveadaL eK 
 
 (TTeix^iv (5) 
 
 (TTelx^Lv eK 
 
 (Trelx^LV Trapotdev . . . 
 (TTeix^LV wdpos 
 
 (TTelx^LV TTpO 
 
 (TTelx^LV TTpos e^odov. 
 
 areWeLV (2) 
 
 aToareWeLV eK 
 
 aTeWeiv eK 
 
 o-Tpe<f)€LV eK TToba (l) . . 
 (jvve^aipelv (l) , 
 
 rpexeiv (2) 
 
 eKTpkxeiv 
 
 viravTia^eLV (2) 
 
 vireKbveadaL e^co (1) . . . 
 
 uireKTWeo-dai (l) 
 
 uwep^aWeiv iroda (l) . 
 
 (fyalveadai (3) 
 
 <f)alveadaL e^co 
 
 (fyaiveadai bevpo irpos 
 <t>alveadaL irpb dvpojv 
 
70 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 AES. 
 
 SOPH. ! EUR. 
 
 ARIST. 
 
 MEN. 
 
 FRAGS. 
 
 ^kp€lV (66) 
 
 €K<t>kptlV 
 
 kK<l>ep€Lv evdoOev 
 
 eK<f)€p€LV e^co 
 
 kK<f>ep€i,v dvpa^e 
 
 €K<f>ep€LV 01koB€LV 
 
 kK(f)opa 
 
 eK<f>p€lv 
 
 <t>ep€Lv eK 
 
 ^ep€Lv €v8odev 
 
 <f)kp€iv ?^a) 
 
 <j>€p€iv dvpa^e 
 
 <f)pov8ov (2) 
 
 <f>pov8ov aro bojjwv 
 
 (f)pov8ov ev8o0€P 
 
 <t)€Vy€LV (5) 
 
 (j>€vyeLv 86fjLi*)v 
 
 <t>€VyeLV €K 
 
 <f)evyeLv evSodev 
 
 <f>evyei.v e^w 
 
 Xa)p€tJ/ (8) 
 
 irpoxit^p^lv €K 
 
 Xcopcli' kK 
 
 xc^pelv eKTos 
 
 Xoopilv Ovpa^e 
 
 Xi/^pelv evBodev 
 
 XOiptlv c^co 
 
 XOip^lv irpbs 
 
 XCijpctJ' CTT* €^65c}) TOiv tvdodev 
 
 uidelv t^o) (1) 
 
 26 
 2 
 
 2 
 
 1 
 
 3 
 1 
 3 
 3 
 1 
 
 11 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 71 
 
 II. Words and expressions used at the departure of an actor from the scene of 
 action through the door in the hack-scene in the Greek dramas 
 
 AES. 
 
 SOPH. 
 
 EUR. 
 
 ARIST. 
 
 MEN. FRAGS. 
 
 ayetv (46) 
 
 ayeLV eis 
 
 aytLV elffu) , 
 
 ayeiv ela-cc eKiroddiv. 
 
 ayuv €s 
 
 ay€LV ecoj 
 
 kirayeLV 
 
 eladyeLV 
 
 el(TayeLV eto'co 
 
 eTravdyeLV els 
 
 eireLadyetv 
 
 KCLTdyeiv ets 
 
 irapdyeLV etcco . . . . 
 
 dBpol^eiv ets (l) 
 aXpecrdai eacj (1) 
 
 aL(T(T€LV (3) 
 
 eiaaiaaeiv els 
 eTrala-aeLP es . . 
 Trapai<T<TeLV es 
 
 dnel^eiv (4) 
 
 dfiel^eLV irpodvpa .... 
 dfiel^eiv TTuXas 
 
 aLvaK\lveiv els (l) ... 
 dwopplirTeLV es (1).. . . 
 OLTToaTTivaL eKiro86}v (l) 
 d(f>LKe(rdaL els (1) .... 
 
 ^adl^eLU (8) 
 ^a8i^€LV . 
 
72 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 EUR. ARIST. 
 
 MEN. 
 
 ^abi^tLV €<s 
 
 ^a8i^€LV ettrco 
 
 ^adi^etv es 
 
 ^alv€LV (27) 
 
 (3alveLV eis 
 
 ^alveiv d(T03 
 
 ^a'lVtLV €$ 
 
 iSaiveLV eaoo 
 
 ^alveiv Kar avTiBvpoiV. 
 ^alvetv Kevdos oIkcov. . . 
 (3aLV€Lv viroareyovs . . . 
 
 ela^aiveiv 
 
 kjji^aiveLV es 
 
 kiri^aiveiv 
 
 Kara^alveLV 
 
 Kara^alveLV etco) 
 
 VTrepl3alv€LV 
 
 dL(j)KeLV els So/jlovs irbba (1) 
 bovvai eacodeu (1) 
 
 bveiv (4) 
 
 bveuv els 
 
 elabveLV es 
 
 ela^LOL^eo-dai (l) 
 
 elcboxal bbfxojv (1) 
 
 eiaeppetv (3) 
 
 elaeppeiv 
 
 eicreppeiv es 
 
 eiadelv (l) 
 
 eiaKoKatiaaBai (1) 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 73 
 
 
 AES. 
 
 SOPH. 
 
 EUR. 
 
 ARIST. 
 
 MEN. 
 
 FRAGS. 
 
 elo'KVKKeli' (1) 
 
 1 
 1 
 
 1 
 3 
 1 
 
 1 
 1 
 
 3 
 
 1 
 1 
 
 1 
 
 1 
 1 
 
 1 
 1 
 
 1 
 
 1 
 
 12 
 
 1 
 1 
 
 7 
 
 1 
 9 
 
 2 
 3 
 1 
 
 1 
 1 
 
 5 
 
 1 
 
 1 
 
 1 
 1 
 
 1 
 
 13 
 1 
 
 3 
 
 1 
 
 1 
 
 1 
 1 
 
 5 
 2 
 
 1 
 
 
 el(TKVK\elv es (1) 
 
 
 etcTodoi (6) 
 
 
 elcroLXV^lv (1) 
 
 
 dairaUiv (3) 
 
 €l(TTal€LV 
 
 
 el(nrai€LV es 
 
 
 kireLaTraleiv ks 
 
 
 elcfTreTacrdaL (1) 
 
 
 elaTTjddv (1) 
 
 
 elcnrXelv (1) 
 
 
 el(T<f)OLTdLV ks (1) 
 
 
 eXBelv (103) 
 
 dveXdelv 
 
 
 ciTreXdelu elao) 
 
 
 direXBelv els 
 
 
 CLTreXdelv eKTro8o)v 
 
 
 elaeXBelv 
 
 17 
 
 elaeXdelv els 
 
 
 elueXOelv es 
 
 
 elGeXBelv ecroj 
 
 
 eXdelv els 
 
 
 eXBelv etaco 
 
 
 eXBelv evrbs 
 
 
 eXBeXv es 
 
 
 eXBelv ecrco • 
 
 
 eTreXBelv dofxovs .... 
 
 
 eireXBelv els 
 
 
 eireicfeXBeZv 
 
 
 irapeXBelv So/jlovs 
 
 
 irapeXBelv boifxa 
 
 
 irapeXBelv etcrco 
 
 
 TraoeXBelv ecroj 
 
 
 
 
74 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 SOPH. I EUR. ! ARIST. 
 
 FRAGS. 
 
 (TVveLaeXdelv 
 vireLffeXdelv . 
 
 ipfxaTl^€LV es olkovs (l) 
 
 epireLV (9) 
 
 d<f>€pTr€LV 
 
 ipT€lV 
 
 'ipTTtiv B.Trodev . 
 epweLP etao). . . 
 
 epireiP ks 
 
 TrapepireLV etaoj. 
 
 kadopelv (l) . . 
 rjyeicrBaL es (l) 
 
 riKeLV (7) 
 T]K€i.v els 
 ^K€LV es . 
 
 thai (10) 
 
 a<f>LevaL es oXkovs 
 
 teadai ecrco 
 
 KoBievai ay Kvpav ev So/jlols 
 
 KoBievai eis 86novs 
 
 KoBievaL evbov 
 
 KaBikvai es 
 
 fxedievaL 
 
 txedievai iroba et<Tco 
 
 thai (106) 
 
 CLTikvaL 
 
 CLTnevai eKwodoiP 
 
 elatevat 
 
 eiaievat, els ... . 
 elcnevai etaco. . . 
 elcLevat. es 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 75 
 
 AES. 
 
 SOPH. 
 
 EUR. 
 
 ARIST. 
 
 MEN. 
 
 
 1 
 
 1 
 
 5 
 
 2 
 
 1 
 
 
 
 1 
 
 2 
 
 1 
 
 1 
 
 1 
 
 
 
 • 1 
 
 
 1 
 
 1 
 1 
 1 
 
 1 
 
 1 
 
 1 
 
 1 
 
 1 
 
 
 1 
 
 
 
 1 
 
 
 1 
 
 
 4 
 
 
 
 1 
 
 1 
 1 
 1 
 
 1 
 
 1 
 2 
 
 3 
 1 
 
 1 
 1 
 
 1 
 
 2 
 2 
 
 1 
 
 1 
 
 
 1 
 
 
 
 2 
 
 3 
 
 1 
 2 
 
 
 
 1 
 
 1 
 2 
 
 1 
 3 
 
 
 
 .FRAGS. 
 
 LevaL 
 
 levaL els 
 
 levau etaoj 
 
 thai kv 
 
 Ikvai eiri 
 
 IhaL es 
 
 Uvai ecoi 
 
 ikvai oIkovs /card (7r€7as 
 
 Trapikvai ets . . 
 
 irapikvai ecrco 
 
 UeLV (3) 
 
 iKeiv els 
 
 iVetf es 
 
 KOfii^etv (10) 
 
 elaKOixi^eiv 
 
 KOjjiL^LV els 
 
 KOfxl^eiV elaoi 
 
 KOfxi^eiv es 
 
 KOfxl^eLP e(T03 
 
 KpvTTTeLP U7r3 fiekaSpov (l) 
 KvXivbeLV etVco (3) 
 
 \ap,^aveLV (17) 
 
 Xafx^dveuv els ....'. . 
 
 \an^aveiv etVoj, 
 
 Xa/jL^dveLV ev8ov 
 
 vwoXaii^dveLV etao) .... 
 dvaXafjL^dveLP evdov .... 
 
 IxoKelv (18) 
 
 fjLoXelv 
 
 IJLoKelv els 
 
 p,o\elv elcroi 
 
 fjLoXelv es 
 
 HoKelv ecTcc 
 
76 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 vel<rdaL eis arkyos (l) 
 vbcTTOS cs dojjiovs (l) . 
 otx^(T6 ai €ts (l) .... 
 o/jLaprelv els (2) .... 
 dpfiCLV €ts (2) 
 
 irkixTreiv (13) 
 
 airoirkyiTreLV etaoj 
 
 el(TT€/lTeLV .... 
 
 elaTre/jLireLV els. . 
 
 Tre/jLTeLV €ts . . . . 
 
 TefjLTreiV es 
 
 TpOTre/jLineLV els 
 TpoTrefiTeLV es . 
 vireKTrepLTreiv es . . 
 
 irepav (2) 
 irepav dSfiovs 
 irepav etaco . 
 
 TTLTTeLV (5) 
 
 eldirLTTeiv . . . 
 elaTTLTTTeLV es 
 
 kflirlTTTtlV . . . 
 
 e/jLTriTTTeLv es . 
 
 OVVeaTTLTTeLV . 
 
 TTOieiV eLffO) 
 
 (1) 
 
 TopevecrdaL (3) 
 
 elairopevecrdaL oiKabe 
 TTopevecrdaL es oIkovs 
 TTopeveadaL crrey as . 
 
 AES. 
 
 (Twevdeiv (2) 
 (TirevbeLV els . . 
 (Tirebbeiv etffoj 
 
 SOPH. 
 
 EUR. 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 77 
 
 AES. 
 
 SOPH. EUR. 
 
 ARIST. 
 
 MEN. 
 
 FRAGS. 
 
 (jTelx^iv (12) 
 
 OLTTOdTdx^iv ettro) . . 
 
 areix^LV etcco 
 
 (TTelx^LV ecro) 
 
 rpexeiv (8) 
 
 elarpex^iv . . . . . 
 el(TTpex^LV els . 
 elcTTpeXtLV etcro) . 
 iraparPex^LV ks 
 /neTarpex^LV . . 
 Tpkx^t-v eld 03 . . 
 
 VTreKrideadaL els (l) 
 virep^dWeLV irvXas 
 
 (f)ep€LV (22) 
 
 CLTTOcfyepeLV 
 
 el(T<i)epeLV , 
 
 eTTLcfyepeLV bbjioicn 
 
 <f>epeiv els 
 
 4>'epeiv etao) 
 
 (pepeiv es 
 
 4>vyelv els (2) 
 
 xcopetz^ (19) 
 
 XwpeZ^ els 
 
 Xcopeti' elVco . . . 
 Xcopetj' evdairep. 
 Xcopelv evTOS ... 
 Xcopelv es .... 
 XOi^pelv eao) . . . . 
 
 (hdelv es Tr]v oUiav (l) 
 
78 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 ///. Words and expressions used at the entrance of an actor upon the scene of 
 action by the parodoi in the Greek drama 
 
 ayeiv 8evpo (l) 
 
 ataaeLV devpo (l) 
 
 avaaTpk4>eLV ttoKlv (l) . . 
 
 ^alveiv (15) 
 
 0aLP€LV . . . : 
 
 ^aLV€LV kv 
 
 ^aiV€LV TreXas 
 
 ^alveiv irXija-Lov 
 
 ^alveiv irpos 
 
 k/x^alvetp 
 
 kin^alveLV 
 
 Tpoa^alveLV 
 
 kXdelp (73) 
 
 aveXdelv 
 
 CLTreXdelv 
 
 elaeXdelv 
 
 kXdelv 
 
 eXdelv acrcrov 
 
 eXdelv devpo 
 
 eXdelv €iJLTo86)v 
 
 eXdelv evdabe 
 
 eXdelv eirl 
 
 eXdelv ttoXlv 
 
 eXOelv TOTL 
 
 eXdelv irpbs 
 
 TrpoaeXdelv 
 
 irpoaeXdelv eirl 
 
 eXKeiv irpbs (2) 
 
 e^p/jLL^eLV iroSa xkXas (l) 
 
 eweiyeffdaL (2) 
 
 '(^TeadaL irdpos (l) 
 
 SOPH. 
 
 EUR. 
 
 ARIST. 
 
 MEN. 
 
 3 
 1 
 
 1 
 13 
 
 2 
 
 10 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 79 
 
 AES. 
 
 SOPH. 
 
 EUR. 
 
 ARIST. 
 
 MEN. 
 
 epireiv (6) 
 TrpoaepweLV 
 
 i]K€LV (56) 
 
 k(f>7]KUV . . . 
 
 ^K€LV 
 
 ^K€LV €irl. . 
 
 riK€LV irapa 
 
 rfKiLV TTpOS. 
 
 eelv (2) 
 
 eadelv wpos 
 
 delv CTTt. . . 
 
 6p6i(TK€l,V SofJLOVS (l) 
 
 IkvaL (9) 
 
 thai devpo 
 
 levat wpos 
 
 Uvac cos 
 
 irpoaikvaL 
 
 iKCLVeiV (3) . . 
 
 LKeLV ttotI (l) 
 
 Ukadai (16) 
 
 e^LKeadaL 
 
 a<f)LKe(T6at, .... 
 a<f>LKe(T6aL kiri . 
 d(f)LKe<7daL irpos 
 
 LKecrdaL 
 
 iKkcrBaL devpo . 
 LKeadaL kirl . . . 
 LKecrdaL wpos . . 
 
 KOfxl^eLV (4) 
 
 Xidfeo-^at TTpbs (l) 
 
 39 
 
80 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 SOPH. 
 
 EUR. 
 
 ARIST. MEN. 
 
 fjLokelv (11) 
 
 /jLoXelv 8€vpo 
 
 fioXelv ttot'l 
 
 jxoKeiv wpos 
 
 odoLTTopelp (2) 
 
 btiiKelv (l) 
 
 bpfxav (3) 
 
 op/jLCLP devpo 
 
 opfidv irpos 
 
 wapelvaL (9) 
 
 weXa^eLV (3) 
 
 Tre/jLTreLV woda irpos (l) 
 
 irepav (3) 
 
 irepav irapos 
 
 Trepdv irpos 
 
 7rXd^€ti/ (l) 
 
 TTopevecrdaL (4) 
 
 TTopeveadaL irpos . . . 
 
 irpoaKeladaL (l) 
 
 irpoaveneiv (l) 
 
 wpoaireTaadaL (1) . . . 
 
 irpo(nr'nrTeiv (l) 
 
 7rpoarpex€tv (5) 
 
 TpOTpaireadai (l) . . . . 
 awevdeiv irpos (2) .... 
 
 (TTeixeLV (31) 
 
 JJL€Ta<TT€ix^V 
 
 irpO(T(TTdx^v 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 81 
 
 AES. 
 
 SOPH. 
 
 EUR. 
 
 ARIST. I MEN. 
 
 (TTeLX^LV 
 
 (TTelx^LV aaaov 
 ardx^v kiri . . 
 drdx^i-v Kara. . 
 (TTelx^i'V irpos . 
 
 areWeLV (2) . . . . 
 (TTeWeLV ttolXlv 
 
 (f)epei,v irpos (l) . 
 
 <f)OLTdv (l) 
 
 Xpi'tJ^'JrT€LV (l) . . . 
 
 Xcopetv (12) 
 
 irapax'^P^t'V 
 
 Xoopelv 
 
 X^pdv kirl 
 
 Xiopelv irapa ri\v etaodov 
 
 XC/ip^ly TTpo 
 
 Xoopelv irpos 
 
 16 
 
 1 
 1 
 3 
 
82 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 IV. Words and expressions used at the departure of an actor from the scene of 
 action hy the parodoi in the Greek dramas 
 
 AES. 
 
 SOPH, EUR. 
 
 ARIST. 
 
 &y€Lv (I9i) 
 
 a7€t»' (XTTO 
 
 airaytiv 
 
 vwayeiv 
 
 aX(T(T€LV (l) 
 
 airalptiv (2) 
 
 d7raXXa(ro'€ti' (5) 
 
 OLTTOdpCLVaL (l) 
 
 airoKi^a^eiv (l) 
 
 (LTrokiTpayi^eLV airo (1) 
 
 CLTroTraTelv (1) 
 
 diroTreraaOaL (2) 
 
 awoao^elv (2) 
 
 dTTOcnrdv (l) 
 
 diro(XTpk<i)av (l) 
 
 d(l>r]KeLV (2) 
 
 arf/oppos (3) 
 
 ^alv€LV (6) 
 
 diro^alveiv 
 
 ^alvetv 
 
 irpo^aiveLV 
 
 SMKeLV (2) 
 
 dirodLoyKeLV diro 
 
 dL(j)K€LV aTOTTpO 
 
 elXlaaeLV iroSa dro (l) 
 ekavveLV (2) 
 
 eXOeiv (34) 
 
 direXdelv 
 
 1 1 
 
TJSE OF STAGE-DOOR IN THE PLAYS 
 
 83 
 
 AES. SOPH. EUR. I ARIST. 
 
 MEN. 
 
 kXdelv 
 
 '4\KeLV (2) 
 
 a<f)e\K€LV 
 
 kTn(rTp€<f)€LV (l) . . . 
 
 epireiv (7) 
 
 a4>epTreLV 
 
 ep-jreLV 
 
 epTretv airo .... 
 epireLV evdevde . . 
 
 eppeLV (o) 
 
 direppeLV 
 
 eppeLV 
 
 eppeLV diro.'. . . . 
 
 ikvai (89) 
 
 CLTTLeVaL 
 
 e^LevaL 
 
 levaL 
 
 ievaL evdevde . . . 
 levai Svpa^e . . . 
 TpoLevaL 
 
 IevaL (6) 
 
 d(f>LevaL 
 
 fxedLevaL 
 
 laTCLvaL (5) 
 
 CLTOo-TrjvaL 
 
 dToa-TTJvaL x^P'S 
 nedLdTavaL .... 
 
 kUlv (l) 
 
 KOjlL^eLV (2) 
 
 1 
 
 1 
 
 5 
 23 
 
 1 
 1 
 
 1 
 
 24 
 
 1 
 1 
 1 
 1 
 
84 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 AES. 
 
 SOPH. 
 
 EUR. 
 
 ARIST. 
 
 1 
 
 
 2 
 
 1 
 
 1 
 
 
 2 
 
 
 2 
 
 
 2 
 
 2 
 
 1 
 
 1 
 
 1 
 
 
 1 
 
 1 
 
 
 
 
 3 
 
 4 
 
 
 3 
 
 6 
 
 20 
 
 
 1 
 
 2 
 
 
 3 
 2 
 
 * 4 
 
 1 
 
 1 
 
 
 1 
 
 1 
 1 
 
 1 
 
 5 
 
 14 
 1 
 
 1 
 
 MEN. 
 
 XelireLV (4) 
 
 /jkoXelv (3) 
 
 otxco-^o-t (6) 
 
 opfxav (3) 
 
 a<f)opiJLdv 
 
 oppvadai (l) 
 
 irknTreiv (l) 
 
 TTOpeveadaL (7) 
 
 (rretx^t?' (29) 
 
 (TTeWeLP (1) 
 
 aeveaSai (2) 
 
 TpeX^LV CLTO (3) 
 
 viraTOKLvelv (2) 
 
 <f)epeLV (7) 
 
 aic6<f>tpuv 
 
 aTro<t>€pet,v olto 
 
 <t)ep€LV 
 
 <f>€p€LV CLTTO 
 
 XOJpelv (23) 
 
 avaxi^P^lv « rouTTto'^cj' 
 
 dTTOxcopetJ^ 
 
 XwpctJ' 
 
 XCOpCtJ' dTTO 
 
USE OF STAGE-DOOR IN THE PLAYS' 
 
 85 
 
 V. Words and expressions used at the entrance of an actor upon the scene of 
 action through the door in the back-scene in the Roman drama 
 
 PLAUT. 
 
 TER. 
 
 SEN. 
 
 2 
 
 
 1 
 1 
 
 
 1 
 
 
 1 
 
 
 6 
 
 
 1 
 2 
 
 
 • 
 
 
 1 
 1 
 
 . ' 
 
 FRAGS. 
 
 ablegare foras (1) 
 
 adesse (3) 
 
 aedificare ex aedibus (1) 
 
 amovere (1) 
 
 arcessere (hinc) (4) 
 
 arcessere intus (1) 
 
 cedere (7) 
 
 abscedere ab aedibus 
 
 accedere hue 
 
 con cedere ex aedibus 
 
 incedere 
 
 procedere foras 
 
 procedere hue 
 
 dare (2) 
 
 dare exinde se 
 
 dare se praecipitem . . 
 
 deligere ex aedibus (1) . 
 deponere foris 
 
 dueere (45) 
 
 abducere (hinc, hue) 
 abducere ex aedibus . 
 
 abducere se ab 
 
 adducere (hue) 
 
 adducere ex aedibus. 
 
 deducere 
 
 dueere 
 
 educere 
 
 edueere foras 
 
 educere se foras 
 
86 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 PLAUT. 
 
 TER. 
 
 SEN. 
 
 FRAGS. 
 
 producere ante aedes foras 
 
 producere hue 
 
 producere intus 
 
 seducere ab aedibus 
 
 seducere hue foras 
 
 sedueere se illim 
 
 subducere ab aedibus 
 
 subterducere se istinc . . . . 
 
 edere (2) 
 
 edere foras 
 
 edere se ex aedibus foras . . 
 
 esse extra limen (1) 
 
 gredi (60) 
 
 agere progredi 
 
 egredi (hinc, hue) 
 
 egredi a se foras 
 
 egredi abs (ab, a) 
 
 egredi abs intus 
 
 egredi domo 
 
 egredi domo foras 
 
 egredi ex aedibus 
 
 egredi foras 
 
 egredi foras e fano 
 
 egredi inde hue foras 
 
 egredi intus 
 
 progredi 
 
 progredi foras 
 
 progredi foras intus 
 
 eicere (7) 
 
 eieere domo 
 
 eicere foras 
 
 eicere foras aedibus 
 
 1 
 12 
 
 1 
 1 
 1 
 
 1 
 
 11 
 
 1 
 
 2 
 5 
 3 
 1 
 
 11 
 1 
 2 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 87 
 
 PLAUT. 
 
 SEN. FRAGS . 
 
 elicere hinc foras (1) . . . . 
 prolicere hue (1) 
 
 eliminare (2) 
 
 eliminare extra aedibus 
 eliminare se 
 
 evomere (1) 
 
 excire (3) 
 
 excire ante aedes 
 
 excire foras 
 
 excitare foras (1) 
 
 exambulare hinc foras (1) 
 
 exigere (2) 
 
 exigere abs se 
 
 exigere foras 
 
 exportare foras (1) 
 
 exsilire foras (2) , 
 
 prosilire (1) 
 
 exsuscitare hue (1) 
 
 extrare limen (1) 
 
 exturbare (4) 
 
 exturbare aedibus 
 
 exturbare ex aedibus . , 
 exturbare foras 
 
 ferre (41) . 
 
 adf erre 
 
 adferre a se 
 
 ecferre domo a se . . . . 
 auf erre a se 
 
88 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 
 PLAUT. 
 
 TER. 
 
 SEN. 
 
 FRAGS. 
 
 auferre hinc 
 
 1 
 
 4 
 
 1 
 
 2 
 
 4 
 1 
 
 ' 
 
 2 
 
 1 
 1 
 1 
 
 1 
 
 1 
 1 
 1 
 
 3 
 
 3 
 
 . 3 
 
 I 
 
 1 
 
 1 
 
 1 
 
 1 
 1 
 
 1 
 
 5 
 1 
 
 1 
 1 
 
 1 
 1 
 
 
 conferre se in pedes 
 
 def erre 
 
 deferre ad se 
 
 
 ecferre (hue) 
 
 ecferre dome 
 
 1 
 
 ecferre ex 
 
 
 ecferre extra aedes 
 
 
 ecferre foras 
 
 
 ecferre gressum thalamis 
 
 
 ecferre (hue) intus 
 
 
 ecferre intus foras 
 
 ecferre pedem aedibus 
 
 
 ecferre pedem domo 
 
 1 
 
 ecferre tectis gradus 
 
 
 ferre foras 
 
 
 ferre hue 
 
 
 proferre intus foras 
 
 
 referre ab aedibus 
 
 
 transferre 
 
 
 transferre a se 
 
 
 fusrare e fano (1) 
 
 
 fugere (4) 
 
 ef fugere 
 
 
 eff ugere foras 
 
 
 fugere ex domo 
 
 
 harpagare intus (1) 
 
 
 ire (181) 
 abire (hinc) 
 
 
 abire abs se 
 
 
 abire domo 
 
 
 abire foras 
 
 
 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 89 
 
 ! I 
 
 I PLAUT. I TER. 
 
 SEN-. 
 
 FRAGS. 
 
 adire hue 
 
 agere ire foras 
 
 exire (hinc, hue) 
 
 exire abs, (ab, a) 
 
 exire ab foras 
 
 exire domo 
 
 exire ex 
 
 exire ex aedibus 
 
 exire ex eulina foras 
 
 exire foras (hue) 
 
 exire inde hue 
 
 exire intus 
 
 ire (hine) 
 
 ire foras 
 
 ire foras ante ostium et ianuam 
 
 ire prae 
 
 prodire (hue) 
 
 prodire foras 
 
 prodire hue ante aedes 
 
 prodire in publieum 
 
 prodire intus 
 
 redire 
 
 transire (hue) 
 
 transire domum 
 
 labi foras (1) 
 
 linquere aulam (!) 
 
 migrare (6) 
 
 emigrare (hinc) 
 
 emigrare aedibus. . . . 
 emigrare ex aedibus . 
 migrare e fano foras 
 
 mittere (9) 
 
 amitterre 
 
 emittere 
 
 1 
 
 1 
 
 49 
 
 3 
 2 
 2 
 
 1 
 18 
 1 
 5 
 2 
 12 
 1 
 1 
 4 
 1 
 1 
 1 
 1 
 3 
 5 
 1 
 
 19 
 3 
 1 
 
90 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 TER, I SEN. 
 
 mittere domo 
 
 mittere foras 
 
 mittere hue 
 
 permittere domum 
 
 pellere foras (1) 
 
 penetrare se foras ex aedibus . 
 
 proficisci foras (1) 
 
 promere (1) 
 
 properare ab ea (1) 
 
 prospectare (1) 
 
 protrahere (1) 
 
 provisere (3) 
 
 quati foras (1) 
 
 repere (10) 
 
 abripere domi 
 
 abripere se foras 
 
 corripere inde 
 
 eripere foris 
 
 proripere foras se ex aedibus 
 
 proripere hue 
 
 rapere ex aedibus 
 
 rapere foras 
 
 rapere tectis pedem 
 
 subripere se 
 
 recipere (2) 
 
 recipere se a pabulo 
 
 recipere se e fano 
 
 sequi (4) 
 
 prosequi foras 
 
 sequi (hinc) 
 
 subrepere hue se (1) 
 
USE OP STAGE-DOOR IN THE PLAYS 
 
 91 
 
 PLAUT. 
 
 TER. 
 
 SEN. ! FRAGS. 
 
 I 
 
 tollere (2) 
 extollere dome pedem . . . 
 tollere extra limen pedes 
 
 trudere (16) 
 
 extrudere 
 
 extrudere aedibus . . . 
 
 extrudere domo 
 
 extrudere ex aedibus 
 
 extrudere foras 
 
 trudere hinc foras . . . 
 
 venire (17) 
 advenire 
 
 convemre . . 
 venire (hue) 
 
 vocare (36) 
 
 evocare (hue) 
 
 evocare (hue) ante aedes 
 evocare ante ostium .... 
 evocare foras (hinc) .... 
 
 evocare intus 
 
 evocare intus foras 
 
 provocare 
 
 se vocare e senatu 
 
 vocare inde 
 
 vorti (3) 
 
 devorti a se . . 
 evorti aedibus 
 revorti 
 
 11 
 2 
 1 
 9 
 2 
 2 
 2 
 1 
 1 
 
92 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 VI. Words and expressions used at the departure of an actor from the scene of 
 action through the door in the hack-scene in the Roman drama 
 
 PLAUT. 
 
 TER. 
 
 SEN. 
 
 FRAGS. 
 
 adspicere intro (1) . . . . 
 inspicere intro (1) . . . . 
 
 agere (9) 
 
 agere 
 
 agere se hinc ....... 
 
 agere se hinc domum 
 agere se in aedem . . . 
 
 allicere ad se (1) 
 
 inlicere ad se (1) 
 
 inlicere intro (1) 
 
 ambulare (3) 
 
 ambuiare 
 
 ambulare intro 
 
 amoliri (3) 
 
 amoliri 
 
 amoliri hinc intro . . 
 
 amovere se hinc (2) . . . . 
 
 arcessere (6) 
 
 arcessere 
 
 arcessere ad se 
 
 arcessere in 
 
 capere (19) 
 
 accipere ad se 
 
 accipere apud se. . . . 
 
 accipere intro 
 
 capessere domum . . . . 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 93 
 
 PLAUT. 
 
 TER. 
 
 SEN. FRAGS. 
 
 receptare ad se 
 
 recipere ad se 
 
 recipere domum se 
 
 recipere se ad 
 
 recipere se ad domum . . . . 
 
 recipere se in aedes 
 
 recipere se in tectum 
 
 recipere se intro 
 
 recipere tecto 
 
 cedere (12) 
 
 abscedere (hinc) 
 
 abscedere hinc intro 
 
 accedere 
 
 accedere intro ad 
 
 concedere hinc domum . . 
 concedere (hinc) intro . . . 
 
 decedere 
 
 incedere domum 
 
 cogere intro (1) 
 
 conicere se intro (1) 
 
 conlabi in (1) 
 
 correpere in (1) 
 
 currere (11) 
 
 currere 
 
 accurrere hue ad 
 
 currere ad 
 
 currere intro 
 
 cursare ad 
 
 transcurrere 
 
 transcurrere ad se 
 
 transcurrere ad se domum 
 
 dare se in domum (1) 
 
 detrudere hue ad (1) 
 
94 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 TEE. 
 
 SEN. 
 
 ducere (89) 
 
 abducere (hinc) 
 
 abducere ad se 
 
 abducere ad se domum 
 
 abducere domum 
 
 abducere intro 
 
 adducere 
 
 adducere ad se. 
 
 adducere in aedes^ 
 
 adducere intro in aedes 
 
 deducere ad 
 
 deducere domum 
 
 deducere in aedes ad se domum 
 deducere in cubiculum domum . 
 
 deducere in domum 
 
 deducere intro 
 
 ducere 
 
 ducere ad 
 
 ducere domum 
 
 ducere in aedem 
 
 ducere intro 
 
 ducere intro ad domum 
 
 introducere 
 
 reducere 
 
 reducere ad 
 
 reducere domum 
 
 transducere 
 
 transducere ad 
 
 ferre (37) 
 
 adferre 
 
 adferre domum 
 
 adferre se intro ad 
 
 auferre 
 
 auferre domum ad se 
 
 conferre ad 
 
 2 
 
 1 
 
 3 
 10 
 1 
 1 
 2 
 1 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 95 
 
 PLAUT. 
 
 TER. 
 
 SEN. 
 
 FRAGS. 
 
 deferre 
 
 deferre ad se 
 
 deferre in aedes 
 
 ferre 
 
 ferre gressus in penates . . . 
 
 ferre intra limen 
 
 ferre intro 
 
 ferre pedem in aedes intro 
 
 ferre pedem intro 
 
 inferre gressum thalamis. . 
 
 inferre pedem 
 
 inferre pedem in aedes . . . 
 
 referre ad 
 
 referre domum 
 
 referre gradum in penates . 
 
 referre intro pedem 
 
 transferre hue 
 
 transf erre hue ad se 
 
 festinare apud se (1) 
 
 fugere (11) 
 
 confugere (hine) 
 
 confugere ad se domum 
 
 fugere 
 
 fugere domum 
 
 f uKere intro 
 
 immergere (2) 
 
 immergere se in eontionem 
 immergere se in ganeum . 
 
 imbitere domum (1) 
 ingredi (1) 
 
 inruere se in aedes (2) 
 
96 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 PLAUT. 
 
 TER. 
 
 SEN. 
 
 intrare (3) 
 
 intrare intra limen 
 
 intrare limen 
 
 ire (495) 
 
 abire hinc 
 
 abire (hinc) ad se ..... 
 
 abire (hinc) domum 
 
 abire (hinc) intro 
 
 abire intro ad se 
 
 abire intro ad se domum 
 
 abire visere 
 
 adire se 
 
 introire 
 
 introire domum 
 
 ire (hac, hinc) 
 
 ire ad 
 
 ire ad se domum 
 
 ire domi 
 
 ire (hinc) domum 
 
 ire in aedem 
 
 ire (hac) intro (intus) . . 
 
 ire intro ad se 
 
 ire intro domum 
 
 ire intro domum ad se . 
 ire intro in aedes. ..*.... 
 ire intro in domum .... 
 
 redire 
 
 redire ad 
 
 redire ad se domum . . . 
 
 redire domum 
 
 redire intro 
 
 transire (hue) 
 
 transire ad 
 
 transire ad se 
 
 transire ad se in domum 
 transire domum 
 
 77 
 3 
 7 
 
 56 
 2 
 1 
 
 1 
 3 
 1 
 
 83 
 
 10 
 1 
 1 
 
 16 
 1 
 
 90 
 4 
 1 
 1 
 2 
 1 
 1 
 
 17 
 
 3 
 9 
 
 1 
 1 
 
 20 
 
 7 
 
 2 
 33 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 97 
 
 PLAUT. 
 
 TER. SEN. 
 
 migrare (2) 
 
 immigrare 
 
 remigrare domum 
 
 mittere (33) 
 
 admittere 
 
 admittere ad se 
 
 admittere intro 
 
 amittere intro 
 
 immittere 
 
 intromittere 
 
 intromittere domum 
 
 intro mittere in aedibus 
 
 mittere 
 
 mittere ad 
 
 mittere in aedes 
 
 mittere intro 
 
 mittere intro domum 
 
 mittere intro in aedes 
 
 mittere intro in aedibus 
 
 penetrare (5) 
 penetrare intra aedes pedem . 
 penetrare pedem intra portam 
 
 penetrare se 
 
 penetrare se in palaestram . . . . 
 penetrare tecta gradu 
 
 pergere (5) 
 
 pergere ad 
 
 pergere in aedibus 
 
 pergere ire domum 
 
 portare ad (I) 
 
98 
 
 HOUSE-DOOR^ ON THE ANCIENT STAGE 
 
 PLAUT. 
 
 SEN. 1 FRAGS. 
 
 properare (9) 
 
 adproperare 
 
 properare 
 
 properare ad 
 
 properare domum . 
 properare ire intro, 
 
 rapere (12) 
 
 abripere intro .... 
 
 corripere ad 
 
 corripere intro .... 
 
 corripere se 
 
 corripere se in. . . . 
 
 rapere intro 
 
 rapere se 
 
 rapere se domum . . 
 subripere se 
 
 remeare intro (1) . . 
 revehere domum (2) 
 revidere ad (1) 
 
 rumpere (4) 
 
 rumpere intro 
 
 rumpere intro in aedes . . 
 rumpere intro in aedibus 
 rumpere intro in fanum. 
 
 sequi (84) 
 
 consequi 
 
 persequi 
 
 persequi intro 
 
 sequi (hac) 
 
 sequi (hac) intro (intus) 
 subsequi intro 
 
 tollere hinc (1) 
 
 1 
 
 1 
 
 45 
 
 16 
 
 1 
 
USE OF STAGE-DOOR IN THE PLAYS 
 
 99 
 
 PLAUT. 
 
 TER. 
 
 SEN. 
 
 venire (47) 
 
 advenire 
 
 advenire ad aedes. . . . 
 
 advenire ad se 
 
 advenire ad se domum 
 
 advenire domi 
 
 advenire domum 
 
 advenire in domum . . 
 
 advenire intro 
 
 con venire 
 
 con venire se domi. . . . 
 convenire se domum . 
 de venire domum ad . . 
 
 venire 
 
 venire ad 
 
 venire ad se 
 
 venire ad se domum . 
 
 venire domum 
 
 venire in aedem 
 
 venire intro 
 
 venire intro ad se . . , . 
 revenire domum 
 
 visere (23) 
 
 invisere ad 
 
 invisere domum 
 
 invisere intro ad se domum 
 
 visere 
 
 visere ad 
 
 visere ad se intro 
 
 visere intro 
 
 visere domum 
 
 intervisere 
 
 intervisere domum 
 
 revocare (2) 
 
 revocare intro . . 
 
100 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 
 PLAUT. 
 
 TBR. 
 
 SEN. 
 
 FRAGS. 
 
 vorti (10) 
 
 devorti 
 
 devorti ad me 
 
 devorti domum 
 
 1 
 
 I 
 
 1 
 1 
 
 1 ' 
 
 1 
 
 2 
 
 1 
 
 ■ 
 
 
 devorti intro domum . . 
 
 
 revorti 
 
 revorti domum 
 
 
 revorti intro 
 
 
 
 
USE OF STAGE-DOOR IN THE PTAYS 
 
 101 
 
 VII. Words and expressions used at the entrance of an actor upon the scene of 
 action by the side-entrances in the Roman drama^^ 
 
 adportare (4) 2 
 
 adportare domum \ 1 
 
 adportare hue adventum 
 advehere hue (2) 
 
 agere (2) 
 agere hue _ . . . 
 adigere horsum 
 
 apparere domi (1) 
 
 areessere (hue) (11) 
 
 contendere eursum hue (1). 
 
 cedere (28) 
 
 aeeedere 
 
 incedere (hue) .... 
 ineedere advorsum 
 ineedere domum . . 
 proeedere hue .... 
 
 eurrere (15) 
 
 currere (hue) . . . 
 eurrere domum . 
 eurrere hue in. . 
 
 oeeurrere 
 
 praecurrere hue 
 reeurrere hue . . . 
 reeursare 
 
 dueere (53) 
 
 adducere (hue) 
 
 adducere ad 
 
 conducere hue domum 
 
 .2 
 
 10 
 
 23 
 1 
 
 1 
 1 
 
 5 
 1 
 I 
 1 
 3 
 1 
 1 
 
 31 
 1 
 1 
 
 dedueere . . . . 
 dueere (hue) 
 dueere ad . . . 
 redueere . . . . 
 
 esse (58) 
 
 adesse (hie, eeeum) 
 
 adesse ante aedes hie . . 
 adesse eeeum ipsum 
 
 obviam 
 
 adesse hine ab laeva 
 
 aut dextra , 
 
 esse (hie, iam) 
 
 ferre (41) 
 
 adferre (hue) 
 
 adferre ad 
 
 deferre (hue) 
 
 ferre ad 
 
 ferre hue pedem. . . . 
 
 ofifere se 
 
 referre (hue) 
 
 referre ad se pedem 
 proferre ad 
 
 ingredi in plateam (1) 
 
 ire (103) 
 
 adire (hue) 
 
 ire (hue, eeeum) . . . 
 
 praeterire. . . . 
 prodire hue . . 
 redire (hue) . . 
 redire domum 
 
 25 
 1 
 
 1 
 10 
 
 22 
 1 
 4 
 1 
 
 3 
 10 
 
 1 
 
 1 
 
 54 
 
 10 
 
 20 
 
 19 
 
 1 
 
 ®* Seneca and the fragments hax© none. 
 

 102 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 mittere (13) 
 
 mittere (hue) 
 
 praemittere 
 
 praemittere domum . . . 
 remitterre 
 
 ostendere inde se (1) . . . . 
 
 pergere (2) 
 
 pergere attat eccum 
 
 horsum 
 
 pergere hue 
 
 properare (4) 
 
 properare domum 
 
 properare venire 
 
 rebitere hue (3) 
 
 redibitere (1) 
 
 recipere (16) 
 
 recipere (hue) 
 
 reeipere se domum .... 
 
 reeipere se hue 
 
 reeipere se hue rursum . 
 
 redambulare (1) 
 
 remeare (1) 
 
 renuntiare (2) 
 
 renuntiare domum .... 
 
 renuntiare hue 
 
 sequi (9) 
 
 eonsequi 
 
 sequi (hae) ! 6 
 
 subsequi ..i 1 
 
 venire (305) ! 
 
 advefnire (hue) | 108 
 
 1 
 1 
 2 
 5 
 
 advenire ad 
 
 advenire ad domum . . 
 
 advenire domi 
 
 advenire domum 
 
 intervenire 
 
 provenire 
 
 revenire (hue) 
 
 subvenire 
 
 venire (hue, hae) 
 
 venire ad 
 
 venire advorsum 
 
 venire hine ab dextra . 
 
 venire obviam 
 
 visere (7) 
 
 intervisere 
 
 provisere 
 
 revisere 
 
 visere 
 
 vocare (hue) (2) 
 
 1 
 7 
 1 
 117 
 6 
 
 vorti (15) 
 
 antevorti 
 
 eonvorti se domum | 1 
 
 revorti (hue) | 6 
 
 revorti ad 2 
 
USE OF STAGE-DOOK IN THE PLAYS 
 
 103 
 
 VIII. Words and expressions used at the departure of an actor from the scene 
 of action by the side-entrances in the Roman drama^ 
 
 ablegare hinc (1) 
 absterrere (1) . . . 
 
 agere (5) 
 
 abigere 
 
 abigere ab aedibus 
 agere se 
 
 ambulare (13) ... . 
 amoliri se hinc (2) 
 
 amovere (5) 
 
 amovere (hinc) . . . 
 amovere a foribus 
 
 arcessere (1) 
 
 asportare hinc (1). 
 avehere (hinc) (6) 
 
 bitere (4) 
 bitere . 
 abitere 
 
 cedere (14) 
 abscedere (hinc) 
 
 procedere 
 
 recedere 
 
 conicere se hinc in pedes 
 
 (1) 
 
 reicere foribus (1) 
 
 currere (14) 
 currere .... 
 percurrere . 
 praecurrere 
 
 1 
 3 
 
 13 
 2 
 
 2 
 2 
 
 1 
 4 
 
 2 
 2 
 
 12 
 1 
 1 
 
 4 
 
 ll 
 
 recurrere . . . 
 transcurrere 
 
 ducere (40) 
 
 abducere (hinc) 26 
 
 deducere 1 
 
 ducere (hinc) I 4 
 
 ducere ab aedibus. ..... 1 
 
 educere i 1 
 
 reducere | 2 
 
 subducere hinc 1 
 
 (2) 
 
 abesse ab domo 
 adesse hie non 
 
 detrudere (1) . . . . 
 extrudere hinc (2) 
 
 facessere hinc (1) . 
 
 ferre (20) 
 auferre hinc 
 deferre .... 
 differre .... 
 ferre 
 
 fugere (24) 
 
 aufugere (hinc) . . . 
 
 effugere 
 
 fugere (hinc) 
 
 fugere ab aedibus. 
 fugere ab domo . . . 
 fugere domo 
 
 11 
 1 
 1 
 5 
 
 3 
 
 1 
 
 14 
 
 1 
 
 ^^ Seneca and the fragments have none. 
 
104 
 
 HOUSE-DOOR ON THE ANCIENT STAGE 
 
 
 grassari (1) 
 
 instare hac an iliac iter (1) 
 
 ire (423) 
 
 abire (hinc, hac) 190 
 
 . abire ab 2 
 
 abire ab aedibus 3 
 
 abire ab domo 1 
 
 abire domo 
 
 abire deambulare .... 
 
 abire prae 1 
 
 exire hinc i 
 
 ire (hinc, hac) | 150 
 
 2 
 1 
 1 
 1 
 3 
 
 ire prae 
 
 praeterire hac 
 
 prodire 
 
 redire 
 
 transire 
 
 migrare hinc (1) 
 
 mittere (35) 
 amittere (hinc) 
 
 dimittere 
 
 mittere (hinc) . 
 remittere 
 
 pellere (3) 
 
 aspellere 
 
 * pellere a f oribus 
 repellere foribus 
 
 pergere (12) 
 
 petere (3) 
 
 proficisci (hinc) (5) 
 
 prohibere (2) 
 prohibere domo 
 prohibere hinc . . 
 
 8 
 
 23 
 1 
 
 1 
 1 
 1 
 
 10 
 2 
 3 
 
 35 
 
 1 
 
 1 
 1 
 1 
 1 
 
 28 
 
 proper are (10) 
 
 quaerere (2) . 
 requaerere . 
 
 rapere (12) 
 abripere (hinc) 
 
 deripere 
 
 eripere 
 
 rapere (hinc) . . 
 
 recipere se (1) 
 relinquere (2) 
 renuntiare (1) 
 revorti (1) ... 
 
 sequi (40) 
 adsequi . . . . 
 persequi hac 
 sequi (hac) . 
 subsequi . . . 
 
 trahere (3) 
 
 abstrahere hinc 
 trahere hinc . . 
 
 venire (11) 
 advenire 
 convenire 
 devenire . 
 venire . . . 
 
 visere (5) 
 invisere 
 visere . . 
 
 36 
 
INDEX OF PRINCIPAL PASSAGES DISCUSSED 
 
 Aeschylus: Cho. 652, p. 19; Eum. 179, 
 p. 60; Prom. l,p.60; 1058 ff., p. 61; Sep. 
 239 ff., p. 60. 
 
 Aristophanes: Ach. 725, p. 62; 824, p. 62; 
 839, p. 62; 876 f., p. 62; Av. 53 ff., pp. 32 
 and 37; 991, p. 62; 1168 f., p. Q2;Eq. 146 f. 
 p. 61; 1407, p. 62; Li/s. 1065 ff., p. 19; Nub 
 132, p. 27; 1510, p. 62; Pac. 1050, p. 62 
 Plut. 872 f., p. 62; 1097, pp. 27 and 30 
 Ran. 603 f., p. 33; Thesm. 487, p. 31 
 Vesp. 138 ff., pp. 33, 37, and 46; 891, p. 
 62; 1498 ff., p. 62; 1535 f., p. 62. 
 
 Aristotle: De An. 2.8.11, 2.8.15, p. 29; Hist. 
 An. 4.9.5, 4.9.8, p. 29; De Aud. 802b-41, p. 
 30; Oecon. 2.1347a-14, p. 43; Resp. Ath. 
 50.2, p. 43. 
 
 Asconius; In Pis. 12, p. 44. 
 
 Cicero, A' . D. 2.27.67, p. 15. 
 Corpus Ins. Graec. III. 5194b, pp. 32 f. 
 and 38. 
 
 Dionysius of Halicarnassus, Antiq. Rom. 
 
 5.39, p. 44. 
 Donatus ad Ter.: Ad. 264, p. 35; 788, p. 
 
 27 f. 
 
 Euripides: Ale. 609 f., p. 61; Bac. 1148 f., 
 p. 61; 1165 ff., p. 60; Cyc. 85 ff., p. 60; 99, 
 p. 61; Hec. 52 f., p. Ql; Hel. 858 f., p. 34; 
 Heraelid. 257, p. 61; i/erc. Fur. 77 f., pp. 
 32 and 37; Hippol. 53, p. 61; 659 f., p. 60; 
 Ion. 515 f., p. 34; Iph. Taur. 1037 f., pp. 
 32 and 37; Orest. 1311 ff., p. 61 ; 1366 f ., p, 
 34; 1561 f., pp. 45 f.; Phoen. 615, p. 61; 
 759 f., p. 61; Rhe. 595 f., p. 61; Troad. 
 1047 f., p. 61. 
 
 Gracchus, Peliades, pp. 40 and 47. 
 
 Heliodorus: 1.17, pp. 32 and 38; 3.16, pp. 
 32 and 38. 
 
 Helladius, apud Phot. Bibl. Cod. 279, pp. 
 26 f. 
 
 Lucian, Pseudosophistes 9, p. 28 f . 
 Lysias: 1-14, pp. 33 and 37; 1.17, pp. 33 and 
 37. 
 
 Magister, s. v. kotttoj, p. 28. 
 
 Menander: Epitr. 454, p. 34; 485, pp. 38 
 and 47; Per. 126 and 426, p. 34; Sam. 85, 
 151, and 210, pp. 38 and 47; 222 and 324, 
 p. 34; Korte, 2d ed. fab. inc. p. 211, 11. 
 34 f., p. 61. 
 
 Moeris, s, v. kotttw, p. 28. 
 
 Plato, Prot. 314 D, p. 43. 
 
 Plautus: Amph. 1018, p. 12; Aul. 666, p. 14; 
 
 Bacch. 833, p. 33; Capt. 831, p. 17; Cure. 
 
 158 ff., p. 31; Men. 351, p. 13; Merc. 477, 
 
 p. 14; Mil. 328, p. 37; Most. 444, p. 12; 
 
 453, p. 17; 505 ff., pp. 37, 40 f., and 47; 
 
 Rud. 1202, p. 14; Stick. 87, p. 13; 308, p. 
 
 12. 
 
 Pliny, N. H. 36.112, p. 44. 
 
 Plutarch: Aratus. 17, p. 21; Cimon 17, p. 
 
 19; Dion 57, p. 44; Pelop. 11.4, p. 43; 
 
 Poblic. 20, pp. 25 f., 42 f., and 44; Mora- 
 
 lia 597 D, pp. 43 f . 
 
 Seneca: Here. Oet. 254, p. 35; Med. 177 f., 
 pp. 39 f . and 47; Oed. 911 and 995, p. 35. 
 
 Sophocles: Antig. 1186 f., pp. 45 and 47; 
 1321, p. 61; 1339, p. 61; Elec. 1322, p. 34; 
 Oed. Col. 36 f ., p. 61 ; 45, p. 61 ; 47 f ., p. 61 ; 
 176 f ., p. 61 ; 233, p. 61 ; 263 f ., p. 61 ; 728 ff ., 
 p. 61; 824, p. 61; 826, p. 61; 866 f., p. 61; 
 Oed. Rex 676, p. 61. 
 
 Suidas, s. v. kotttoj, p. 27. 
 
 Tacitus, Ann. 11.37, pp. 39 and 40. 
 Terence, Ad. 788, pp. 27, 39, and 47. 
 
 Xenophon, Hel. 6.4.36, p. 44. 
 
 105 
 
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