He name of Philonides, are evidently from the New
built for Demetrius Phalereus, about B.
built for Demetrius Phalereus, about B.
William Smith - 1844 - Dictionary of Greek and Roman Antiquities - c
ix.
67, 69).
Loc.
viii.
7, vol.
xii.
p.
202, De Locis Affect.
ii.
5,
Hieronymus (Jov. 1) speaks of Philon the dia- vol. viii. p. 84, De Meth. Med. xii. 1, vol. x. p. 818),
lectician and the author of the Menexenus, as the Aretaeus (De Cur. Morb. Chron. ii. 5, p. 335),
instructor of Carneades, in contradiction to chro. Paulus Aegineta (iii. 23, vii. 11, pp. 440, 657),
nology, perhaps in order to indicate the sceptical Oribasius (Synops. iii. Eupor. iv. 136, pp. 54, 675),
direction of his doctrines.
Aëtius (ii. 4. 28, iii. 1. 32, iii. 2. 1, iv. 1. 107, pp.
3. The Academic, was a native of Larissa and 382, 478,511, 660), Joannes Actuarius (De Meth.
a disciple of Clitomachus. After the conquest of Med. 5. 6, p. 263), Marcellus (De Medicam, cc. 20,
Athens by Mithridates he removed thence to 22. pp. 329, 341), Alexander Trallianus (pp. 271,
Kome, where he settled as a teacher of philosophy 577, ed. Basil. ), Nicolaus Myrepsus (De Compos.
and rhetoric. Here Cicero was among his hearers Medicam. i. 243, 383, pp. 412, 437), Avicenna
(Cic. ad Fum. xiii. 1, Acad. i. 4, Brut. 89, Tusc. (Canon, v. 1. 1. vol. ii. p. 278, ed. Venet. 1595).
ii. 3).
When Cicero composed his Quaestiones This Philon may perhaps be the physician whose
Academicae, Philon was no longer alive (Acad. ii. collyrium is quoted by Celsus (De Medic. vi. 6,
6); he was already in Rome at the time when the p. 119. )
dialogue in the books de Orutore is supposed to 2. The physician who is mentioned among several
have been held (B. C. 92, de Orat. iii. 28). Through others by Galen (De Meth. Med. i. 7, vol. x. p. 53)
Philon the screpsis of the Academy returned to its as belonging to the sect of the Methodici, is perhaps
original starting point, as a polemical antagonism a different person from the preceding, and must have
against the Stoics, and so entered upon a new lived some time in or after the first century B. C.
course, which some historians have spoken of as He may, perhaps, be the contemporary of Plutarch,
that of the fourth academy (Sext. Emp. Hypotyp. in the second century after Christ, who is intro-
i. 220). He maintained that by means of con- duced by him in his Symposiacon (ii. 6. 2, iv. 1. 1,
ceptive notions (rataANTTIKT partagla) objects vi. 2. 1, viii. 9. 1). He was of opinion that the
could not be comprehended (dratánnata), but disease called Elephantiasis first appeared shortly
were comprehensible according to their nature before his own time ; but in this he was probably
(Sext. Emp. Hypotyp. i. 235; Cic. Acad. Quaest. mistaken. See Jul. Alb. Hofmann's treatise, Ra-
ii. 6). How he understood the latter, whether he bici Caninae ad Celsum usque Historia Critica, p.
referred to the evidence and accordance of the 53. (Lips. 8vo. 1820. )
sensations which we receive from things (Aristo- A physician of this name is also mentioned by
cles, ap. Euseb. Praep. Evang. xiv. 9), or whether St. Epiphanius (adv. Haeres. i. 1, 3) ; and a writer
he had returned to the Platonic assumption of an on metals, by Athenaeus (vii. p. 322). (W. A. G. )
immediate spiritual perception, is not clear. In PHILON (Hinwv), artists. 1. Son of Antipa-
opposition to his disciple Antiochus, he would not ter, a statuary who lived in the time of Alexander
admit of a separation of an Old and a New Aca- the Great, and made the statue of Hephaestion.
demy, but would rather find the doubts of scepti. (Tatian. Orat. adv. Graec. 55, p. 12), ed. Worth).
cism even in Socrates and Plato (Cic. Acad. He also made the statue of Zeus Ourios, which
Quacst. ii. 4, 5, 23), and not less perhaps in the stood on the shore of the Black Sea, at the en-
New Academy the recognition of truth which trance of the Bosporus, near Chalcedon, and
burst through its scepticism. At least on the one formed an important landmark for sailors. It was
hand, even though he would not resist the evi- still perfect in the time of Cicero (in Verr. iv. 58),
dence of the sensations, he wished even here to and the base has been preserved to modern times,
meet with antagonists who would endeavour to bearing an inscription of eight elegiac verses,
refute his positions (Aristocles, l. c. ), i. e. he felt the which is printed in the works of Wheeler, Spon,
need of subjecting afresh what he had provisionally and Chishull, and in the Greek Anthology (Brunck,
set down in his own mind as true to the exanina- Anal. vol. iii. p. 192; Jacobs, Anth. Gruec. vol. iv.
tion of scepticism ; and on the other hand, he did p. 159 ; comp. Sillig, Catal. Artif. s. v. ). Philon
not doubt of arriving at a sure conviction respec- is mentioned by Pliny among the statuaries who
ting the ultimate end of life. [Ch. A. B. ] made athletas et armatos et venatores sacrificantesque.
PHILON (tiaw), the name of several physi-|(H. N. xxxiv. 8. 6. 19. $ 34).
## p. 314 (#330) ############################################
814
PHILONIDES.
PHILONIDES.
2. A very eminent architect at Athens in the ments, which Stobaeus has preserved under the
time of the immediate successors of Alexander.
He name of Philonides, are evidently from the New
built for Demetrius Phalereus, about B. c. 318, the Comedy, and ought to be ascribed to Philemon or
portico of twelve Doric columns to the great temple Philippides. (Meineke, Frag. Com. Gracc. vol. i.
at Eleusis. He also constructed for the Athenians, pp. 102-104, vol. ii. pp. 421-425; Fabric. Bill.
under the adıninistration of Lycurgus, an armoury Graec. vol. ii. p. 482. )
(armamentarium) in the Peiraeeus, containing arms The other question respecting Philonides is one
for 1000 ships (Plin. H. N. vii. 37. s. 38). This of very great importance in connection with the
work, which excited the greatest admiration (Cic. literary history of the Old Comedy in general, and
de Orut. i. 14 ; Strab. ix. p. 395, d. ; Val. Max. of Aristophanes in particular. It is generally
viii. 12. ext. 2), was destroyed in the taking of believed that Philonides was an actor of Ariston
Athens by Sulla. (Plut. Sulla, 14). He wrote phanes, who is said to have committed to him
works on the architecture of temples, and on the and to Callistratus his chief characters. But the
naval basin which he constructed in the Peiraeeus. evidence on which this statement rests is regarded
(Vitruv. vii. Praef. § 12. )
S
by some of the best modern critics as leading to
3. A sculptor (1. Bouprós), whose name appears a very different conclusion, namely, that several of
on an inscription recently discovered at Delphi. the plays of Aristophanes were brought out in
(Ross, Inscr. Graec. Ined. Fasc. i. n. 73. p. 30 ; the names of Callistratus and Philonides. This
R. Rochette, Lettre à M. Schorn, p. 384, 2nd ed. ) question has been treated of by such scholars as
4. An engraver of medals, whose name is seen Ranke, C. F. Hermann, Fritzsch, Hanorius, W.
on the front of the helmet of the head of Minerva, Dindorf, and Droysen ; bit by for the most elabo-
which is the type of several coins of Heracleia in rate and satisfactory discussion of it is that by
Lucania. The letters are extremely minute, and the Theodor Bergk, prefixed to his edition of the fraga
inscription is sometimes in the form PIA, sometimes ments of Aristophanes, in Meineke's Fragmenia
pian. (R. Rochette, Lettre à M. Schorn, p. 94, Comicorum Graecorum, vol. ii. pp. 902—939.
2nd ed. )
[P. S. ] It must be remeinbered that, when a poet
PHILONI'CUS, artists. 1. C. Cornelius, a wished to exhibit a drama, he had first to apply to
Roman artist in silver, whose name occurs in an either the first or second archon for a chorus, his
inscription found at Narbonne, FABER ARGENT. obtaining which depended on the opinion of the
(Gruter, p. dcxxxix. 5). This inscription is one archon as to the merits of his play, and also in no
of several proofs that this branch of the arts was small degree on personal and political influence.
diligently cultivated in (aul under the early em- We even find choruses refused to such poets as
perors. "In other inscriptions we find mention Sophocles and Cratinus. Even when he succeeded
made of Vasclarii Argentari, specimens of whose in obtaining a chorus, he had to encounter the
work are furnished by beautiful silver vases, which proverbial capriciousness of an Athenian audience,
have been found in Gaul. (R. Rochette, Lettre à whose treatment even of old favourites was, as
M. Schorn, p. 385, 2nd ed. )
Aristophanes complains, no small discouragement
2. M. Canuleius, an artist, whose name occurs to a young candidate for their favour. In order to
in an inscription (Gruter, p. xxv. l), where he is reduce the obstacles which a young poet found
designated as Geniarius, that is, a maker of little thus placed in his way upon the very threshold,
figures of genii. (R. Rochette, l. c. ) [P. S. ] two courses were customary: the candidate for
PHILO'NIDES ($! Awvions), an Athenian dramatic honours either brought out in his own
comic poet of the Old Comedy, who is, however, name the play of some popular poet, the intrinsic
better known as one of the two persons in whose merit of which was sure to obtain a chorus, or else
names Aristophanes brought out some of his plays, he availed himself of the reputation of a well-
than by his own dramas. The information we have known poet by applying for a chorus in his name.
of him as a poet can be stated in a very few words ; The result was that by the former plan, which we
but the question of his connection with Aristo know to have been adopted by the sons of Aeschy-
phanes demands a careful examination.
lus, Sophocles, and Aristophanes, the young poet's
Before becoming a poet, Philonides was either a name became known, and he could more easily
fuller or a painter, according to the different texts hope to obtain a chorus for one of his own plass;
of Suidas and Eudocia, the former giving yvapeús, and, in the latter case, the reception of his works
the latter ypapeús. Three of his plays are men- would encourage him to appear again under his
tioned, 'Atvn, Kódopvoi, and Diétaipos (Suid. own name, or the contrary. There is, in fact, a
8. . ). The title of Kódopvoi would of itself lead passage of Aristophanes, which, if the figure be
us to suppose that it was an attack upon Thera- interpreted closely, would suggest the notion that
menes, whose party fickleness had gained him the it was customary for a young poet to pass through
well-known epithet Kóbopvos, and this conjecture the following three stages : the first, assisting
is fully confirmed by the following passage of a another poet in the composition of the less im-
grammarian (Bekker, Anecd. p. 100. 1): Onpa- portant passages of his plays (like the pupils of a
μένης της κλητικήν· Φιλιππίδης Κοθόρνοις, where great artist), as we know Eupolis to have worked
we ought no doubt to read ! Awvidrs, for no such under Aristophanes in the Knights ; then putting
play of Philippides is ever mentioned, but the out his own dramas under the name of another
Kódopvol of Philonides, besides being mentioned poet, in order to see how the popular favour in-
by Suidas, is several times quoted by Athenaeus clined ; and lastly, producing them in his own
and other writers. The plural number of the title, name. These several stages are perhaps intimated
Κόθορνοι, is no doubt because the chorus consisted by the phrases, Ερέτην γένεσθαι, πρωρατεύσαι και
of persons of the character of Theramenes. We τους ανέμους διαθρησαι, and κυβερνάν αυτόν εαυτό
have another example of that confusion between in the passage alluded to (Eq. 511--543, see
names beginning with Phil. , which has been no- Bergk, l. c. pp. 916, 917). In addition to the
ticed under Philemon, in the fact that many frag- reasons just stated, there is a very common opinion,
## p. 315 (#331) ############################################
PHILONIDES.
315
PHILONIDES.
founded on the statement of a grammarian (Schol. / at first exceedingly cautious and otherwise clever,
in Aristoph. Nub. 530), that an express law for- he brought out (kalier, the regular word for bringing
bade a poet to exhibit a drama in his own name into a contest) his first dramas in the names of
while he was under thirty years of age ; but (Sid) Callistratus and Philonides ; wherefore he
Bergk has shown (l. c. pp. 906, 907) that this law was ridiculed . . . . on the ground that he labouret
is probably one of those innumerable fictions of the for others : but afterwards he contended in his own
commentators, who state as facts things which are nume (autós nywvioato):” here again the plırase
simply the expression of their own notion of their “ that he laboured for others" must imply that
author's meaning; for Aeschylus, Sophocles, and Callistratus and Philonides were poets.
Euripides are all known to have brought out Thus far all is clear and consistent. Aristo-
plays in their own names while they were under phanes, from motives of modesty and caution,
thirty.
but not from any legal necessity, began to exhibit,
Now, in every case, the name enrolled in the not in his own name, but in that of Callistratus,
public records was that of the person in whose and afterwards of Pbilonides. The success of
name the chorus was applied for, whether he were these first efforts encouraged him to come forward
the real author or not, and this is the name which as the avowed author of his plays ; and again,
appears in the Didasculiu prefixed to a play under towards the close of his life, he aided his son
the form εδιδάχθη δια Καλλιστράτου (Acharn. ), or Araros, by allowing him to bring out some of his
di autoŮ TOÛ Apotopávous (Equit. ). In fact, dramas (the Cocalus for example) in his own name.
according to the original spirit of the institution, the But at the close of this very same Life of Aris-
chorus was the only essential part of a play, tophanes (p. xxxix. ) we find the error which we
and the public functionaries knew nothing of the have to expose, but yet combined with truth as to
author as such, but only of the teacher of the chorus. the main fact, in the statement that “ the actors of
Now we can easily understand how, when a poet Aristophanes were Callistratus and Philonides, in
was wealthy and fond of enjoyment, he might whose names (8ův) he exhibited his own dramas,
choose to assign the laborious duty of training the the public (or political) ones (td Snuotiká) in the
chorus and actors to another person ; and thus, name of Philonides, and the private (or personal)
besides the reasons already stated for a poet's using ones (rd lowtiká) in that of Callistratus. ” It seems
another's name at the commencement of his career, that the grammarian, though himself understand-
we see another ground on which he might continue ing the meaning of diá, copied the error into which
that practice, after his reputation was established. some former writer had been led, by supposing
Now we learn from Aristophanes himself, to say
that it referred to the actors : for, that it cannot
nothing of other evidence, not only the fact that he have that sense in the passage before us, is obvious
brought out his early plays in the names of other from the tautology which would arise from so
poets, but also his reasons for so doing. In the translating it, and from the force of the faut où ;
Parabasis of the Knights (v. 514), he states that namely, “ the actors of Aristophanes were Callis-
he had pursued this course, not from want of tratus and Philonides, by whom as actors he exhi-
thought, but from a sense of the difficulty of his bited his own dramas. " We may, however, with
profession, and from a fear that he might suffer great probability regard the passage as a later in-
from that fickleness of taste which the Athenians terpolation: how little credit is due to it is plain
had shown towards other poets, as Magnes, Crates, from the fact that the distribution of subjects in the
and Cratinus. Again, in the Parabusis of the last clause agrees neither with the testimony al-
Clouds (v. 530), he expresses the same thing in ready cited, nor with the information which we
the following significant language :-
derive from the Didascalive, as to the plays which
Kaya', rapbévos gap čr' i1, koủk nu Tu MOL TEKEîv listratus. From the Didascaliae and other testi-
were assigned respectively to Philonides and Cal-
εξέθηκα, παις δ' ετέρα τις λαβούσ' ανείλετο,
monies, we find that the Bubylonians (B. C. 426)
where the last words evidently imply, if the figure and the Acharnians (B. C. 425) were also brought
is to be interpreted consistently, that the person in out in the name of Callistratus ; and that the first
whose name he brought out the play referred to play which Aristophanes exhibited in his own
(the Daetuleis) was unother poet. It was evidently name was the Knights, B. c. 424 (68. 8áyon. . . . 81
the word oliv in this passage that misled the autoù toù 'Aplotopavous, Didasc. ). And hence
scholiast into his fancy of a legal prohibition. the notion has been hastily adopted, that he hence-
We must now inquire what light the ancient forth continued to exhibit in his own name, until
grammarians throw upon the subject. The author towards the close of his life, when he allowed
of the anonymous work, ſlepi kwupdías, who is de- Araros to bring out his plays. But, on the con-
cidedly one of the best of these writers, states (p. trary, we find from the Diduscaliae that he brought
xxix. ) that “ Aristophanes first exhibited (ebidae) out the Birds (B. C. 414) and the Lysistrata (B. C.
in the archonship of Diotimus (B. C, 427), in the 411) in the name of Callistratus (8. a Kallio.
name of Callistratus (8. d Kalliotpátov); for his Tpátou).
political comedies (Tds Tolitikas) they say that he Thus far the testimonies quoted have only re-
gave to him, but those against Euripides and Socrates ferred to Philonides in generul terms: it remains
to Philonides ; and on account of this (tirst drama) to be seen what particular plays Aristophanes
being esteemed a good poet, he conquered on sub-brought out in his name. From the above state-
sequent occasions (τους λοιπούς, sc. χρόνους), en- ments of the grammarians it might be inferred that
rolling his own name as the author (errypapóuevos). Aristophanes used the name of Philonides in this
Afterwards he gave his dramas to his son" (Araros). manner before the composition of the l’nights ; but
The play which he exhibited on this occasion was this is probably only a part of the error by which
the Aaitancis (Vub. l. c. and Schol. ). To the same it was assumed that, from the time of his exhibiting
effect another respectable grammarian, the author of the Knights, it was his constant custom to bring
the life of Aristophanes, tells us(p. xxxv.
Hieronymus (Jov. 1) speaks of Philon the dia- vol. viii. p. 84, De Meth. Med. xii. 1, vol. x. p. 818),
lectician and the author of the Menexenus, as the Aretaeus (De Cur. Morb. Chron. ii. 5, p. 335),
instructor of Carneades, in contradiction to chro. Paulus Aegineta (iii. 23, vii. 11, pp. 440, 657),
nology, perhaps in order to indicate the sceptical Oribasius (Synops. iii. Eupor. iv. 136, pp. 54, 675),
direction of his doctrines.
Aëtius (ii. 4. 28, iii. 1. 32, iii. 2. 1, iv. 1. 107, pp.
3. The Academic, was a native of Larissa and 382, 478,511, 660), Joannes Actuarius (De Meth.
a disciple of Clitomachus. After the conquest of Med. 5. 6, p. 263), Marcellus (De Medicam, cc. 20,
Athens by Mithridates he removed thence to 22. pp. 329, 341), Alexander Trallianus (pp. 271,
Kome, where he settled as a teacher of philosophy 577, ed. Basil. ), Nicolaus Myrepsus (De Compos.
and rhetoric. Here Cicero was among his hearers Medicam. i. 243, 383, pp. 412, 437), Avicenna
(Cic. ad Fum. xiii. 1, Acad. i. 4, Brut. 89, Tusc. (Canon, v. 1. 1. vol. ii. p. 278, ed. Venet. 1595).
ii. 3).
When Cicero composed his Quaestiones This Philon may perhaps be the physician whose
Academicae, Philon was no longer alive (Acad. ii. collyrium is quoted by Celsus (De Medic. vi. 6,
6); he was already in Rome at the time when the p. 119. )
dialogue in the books de Orutore is supposed to 2. The physician who is mentioned among several
have been held (B. C. 92, de Orat. iii. 28). Through others by Galen (De Meth. Med. i. 7, vol. x. p. 53)
Philon the screpsis of the Academy returned to its as belonging to the sect of the Methodici, is perhaps
original starting point, as a polemical antagonism a different person from the preceding, and must have
against the Stoics, and so entered upon a new lived some time in or after the first century B. C.
course, which some historians have spoken of as He may, perhaps, be the contemporary of Plutarch,
that of the fourth academy (Sext. Emp. Hypotyp. in the second century after Christ, who is intro-
i. 220). He maintained that by means of con- duced by him in his Symposiacon (ii. 6. 2, iv. 1. 1,
ceptive notions (rataANTTIKT partagla) objects vi. 2. 1, viii. 9. 1). He was of opinion that the
could not be comprehended (dratánnata), but disease called Elephantiasis first appeared shortly
were comprehensible according to their nature before his own time ; but in this he was probably
(Sext. Emp. Hypotyp. i. 235; Cic. Acad. Quaest. mistaken. See Jul. Alb. Hofmann's treatise, Ra-
ii. 6). How he understood the latter, whether he bici Caninae ad Celsum usque Historia Critica, p.
referred to the evidence and accordance of the 53. (Lips. 8vo. 1820. )
sensations which we receive from things (Aristo- A physician of this name is also mentioned by
cles, ap. Euseb. Praep. Evang. xiv. 9), or whether St. Epiphanius (adv. Haeres. i. 1, 3) ; and a writer
he had returned to the Platonic assumption of an on metals, by Athenaeus (vii. p. 322). (W. A. G. )
immediate spiritual perception, is not clear. In PHILON (Hinwv), artists. 1. Son of Antipa-
opposition to his disciple Antiochus, he would not ter, a statuary who lived in the time of Alexander
admit of a separation of an Old and a New Aca- the Great, and made the statue of Hephaestion.
demy, but would rather find the doubts of scepti. (Tatian. Orat. adv. Graec. 55, p. 12), ed. Worth).
cism even in Socrates and Plato (Cic. Acad. He also made the statue of Zeus Ourios, which
Quacst. ii. 4, 5, 23), and not less perhaps in the stood on the shore of the Black Sea, at the en-
New Academy the recognition of truth which trance of the Bosporus, near Chalcedon, and
burst through its scepticism. At least on the one formed an important landmark for sailors. It was
hand, even though he would not resist the evi- still perfect in the time of Cicero (in Verr. iv. 58),
dence of the sensations, he wished even here to and the base has been preserved to modern times,
meet with antagonists who would endeavour to bearing an inscription of eight elegiac verses,
refute his positions (Aristocles, l. c. ), i. e. he felt the which is printed in the works of Wheeler, Spon,
need of subjecting afresh what he had provisionally and Chishull, and in the Greek Anthology (Brunck,
set down in his own mind as true to the exanina- Anal. vol. iii. p. 192; Jacobs, Anth. Gruec. vol. iv.
tion of scepticism ; and on the other hand, he did p. 159 ; comp. Sillig, Catal. Artif. s. v. ). Philon
not doubt of arriving at a sure conviction respec- is mentioned by Pliny among the statuaries who
ting the ultimate end of life. [Ch. A. B. ] made athletas et armatos et venatores sacrificantesque.
PHILON (tiaw), the name of several physi-|(H. N. xxxiv. 8. 6. 19. $ 34).
## p. 314 (#330) ############################################
814
PHILONIDES.
PHILONIDES.
2. A very eminent architect at Athens in the ments, which Stobaeus has preserved under the
time of the immediate successors of Alexander.
He name of Philonides, are evidently from the New
built for Demetrius Phalereus, about B. c. 318, the Comedy, and ought to be ascribed to Philemon or
portico of twelve Doric columns to the great temple Philippides. (Meineke, Frag. Com. Gracc. vol. i.
at Eleusis. He also constructed for the Athenians, pp. 102-104, vol. ii. pp. 421-425; Fabric. Bill.
under the adıninistration of Lycurgus, an armoury Graec. vol. ii. p. 482. )
(armamentarium) in the Peiraeeus, containing arms The other question respecting Philonides is one
for 1000 ships (Plin. H. N. vii. 37. s. 38). This of very great importance in connection with the
work, which excited the greatest admiration (Cic. literary history of the Old Comedy in general, and
de Orut. i. 14 ; Strab. ix. p. 395, d. ; Val. Max. of Aristophanes in particular. It is generally
viii. 12. ext. 2), was destroyed in the taking of believed that Philonides was an actor of Ariston
Athens by Sulla. (Plut. Sulla, 14). He wrote phanes, who is said to have committed to him
works on the architecture of temples, and on the and to Callistratus his chief characters. But the
naval basin which he constructed in the Peiraeeus. evidence on which this statement rests is regarded
(Vitruv. vii. Praef. § 12. )
S
by some of the best modern critics as leading to
3. A sculptor (1. Bouprós), whose name appears a very different conclusion, namely, that several of
on an inscription recently discovered at Delphi. the plays of Aristophanes were brought out in
(Ross, Inscr. Graec. Ined. Fasc. i. n. 73. p. 30 ; the names of Callistratus and Philonides. This
R. Rochette, Lettre à M. Schorn, p. 384, 2nd ed. ) question has been treated of by such scholars as
4. An engraver of medals, whose name is seen Ranke, C. F. Hermann, Fritzsch, Hanorius, W.
on the front of the helmet of the head of Minerva, Dindorf, and Droysen ; bit by for the most elabo-
which is the type of several coins of Heracleia in rate and satisfactory discussion of it is that by
Lucania. The letters are extremely minute, and the Theodor Bergk, prefixed to his edition of the fraga
inscription is sometimes in the form PIA, sometimes ments of Aristophanes, in Meineke's Fragmenia
pian. (R. Rochette, Lettre à M. Schorn, p. 94, Comicorum Graecorum, vol. ii. pp. 902—939.
2nd ed. )
[P. S. ] It must be remeinbered that, when a poet
PHILONI'CUS, artists. 1. C. Cornelius, a wished to exhibit a drama, he had first to apply to
Roman artist in silver, whose name occurs in an either the first or second archon for a chorus, his
inscription found at Narbonne, FABER ARGENT. obtaining which depended on the opinion of the
(Gruter, p. dcxxxix. 5). This inscription is one archon as to the merits of his play, and also in no
of several proofs that this branch of the arts was small degree on personal and political influence.
diligently cultivated in (aul under the early em- We even find choruses refused to such poets as
perors. "In other inscriptions we find mention Sophocles and Cratinus. Even when he succeeded
made of Vasclarii Argentari, specimens of whose in obtaining a chorus, he had to encounter the
work are furnished by beautiful silver vases, which proverbial capriciousness of an Athenian audience,
have been found in Gaul. (R. Rochette, Lettre à whose treatment even of old favourites was, as
M. Schorn, p. 385, 2nd ed. )
Aristophanes complains, no small discouragement
2. M. Canuleius, an artist, whose name occurs to a young candidate for their favour. In order to
in an inscription (Gruter, p. xxv. l), where he is reduce the obstacles which a young poet found
designated as Geniarius, that is, a maker of little thus placed in his way upon the very threshold,
figures of genii. (R. Rochette, l. c. ) [P. S. ] two courses were customary: the candidate for
PHILO'NIDES ($! Awvions), an Athenian dramatic honours either brought out in his own
comic poet of the Old Comedy, who is, however, name the play of some popular poet, the intrinsic
better known as one of the two persons in whose merit of which was sure to obtain a chorus, or else
names Aristophanes brought out some of his plays, he availed himself of the reputation of a well-
than by his own dramas. The information we have known poet by applying for a chorus in his name.
of him as a poet can be stated in a very few words ; The result was that by the former plan, which we
but the question of his connection with Aristo know to have been adopted by the sons of Aeschy-
phanes demands a careful examination.
lus, Sophocles, and Aristophanes, the young poet's
Before becoming a poet, Philonides was either a name became known, and he could more easily
fuller or a painter, according to the different texts hope to obtain a chorus for one of his own plass;
of Suidas and Eudocia, the former giving yvapeús, and, in the latter case, the reception of his works
the latter ypapeús. Three of his plays are men- would encourage him to appear again under his
tioned, 'Atvn, Kódopvoi, and Diétaipos (Suid. own name, or the contrary. There is, in fact, a
8. . ). The title of Kódopvoi would of itself lead passage of Aristophanes, which, if the figure be
us to suppose that it was an attack upon Thera- interpreted closely, would suggest the notion that
menes, whose party fickleness had gained him the it was customary for a young poet to pass through
well-known epithet Kóbopvos, and this conjecture the following three stages : the first, assisting
is fully confirmed by the following passage of a another poet in the composition of the less im-
grammarian (Bekker, Anecd. p. 100. 1): Onpa- portant passages of his plays (like the pupils of a
μένης της κλητικήν· Φιλιππίδης Κοθόρνοις, where great artist), as we know Eupolis to have worked
we ought no doubt to read ! Awvidrs, for no such under Aristophanes in the Knights ; then putting
play of Philippides is ever mentioned, but the out his own dramas under the name of another
Kódopvol of Philonides, besides being mentioned poet, in order to see how the popular favour in-
by Suidas, is several times quoted by Athenaeus clined ; and lastly, producing them in his own
and other writers. The plural number of the title, name. These several stages are perhaps intimated
Κόθορνοι, is no doubt because the chorus consisted by the phrases, Ερέτην γένεσθαι, πρωρατεύσαι και
of persons of the character of Theramenes. We τους ανέμους διαθρησαι, and κυβερνάν αυτόν εαυτό
have another example of that confusion between in the passage alluded to (Eq. 511--543, see
names beginning with Phil. , which has been no- Bergk, l. c. pp. 916, 917). In addition to the
ticed under Philemon, in the fact that many frag- reasons just stated, there is a very common opinion,
## p. 315 (#331) ############################################
PHILONIDES.
315
PHILONIDES.
founded on the statement of a grammarian (Schol. / at first exceedingly cautious and otherwise clever,
in Aristoph. Nub. 530), that an express law for- he brought out (kalier, the regular word for bringing
bade a poet to exhibit a drama in his own name into a contest) his first dramas in the names of
while he was under thirty years of age ; but (Sid) Callistratus and Philonides ; wherefore he
Bergk has shown (l. c. pp. 906, 907) that this law was ridiculed . . . . on the ground that he labouret
is probably one of those innumerable fictions of the for others : but afterwards he contended in his own
commentators, who state as facts things which are nume (autós nywvioato):” here again the plırase
simply the expression of their own notion of their “ that he laboured for others" must imply that
author's meaning; for Aeschylus, Sophocles, and Callistratus and Philonides were poets.
Euripides are all known to have brought out Thus far all is clear and consistent. Aristo-
plays in their own names while they were under phanes, from motives of modesty and caution,
thirty.
but not from any legal necessity, began to exhibit,
Now, in every case, the name enrolled in the not in his own name, but in that of Callistratus,
public records was that of the person in whose and afterwards of Pbilonides. The success of
name the chorus was applied for, whether he were these first efforts encouraged him to come forward
the real author or not, and this is the name which as the avowed author of his plays ; and again,
appears in the Didasculiu prefixed to a play under towards the close of his life, he aided his son
the form εδιδάχθη δια Καλλιστράτου (Acharn. ), or Araros, by allowing him to bring out some of his
di autoŮ TOÛ Apotopávous (Equit. ). In fact, dramas (the Cocalus for example) in his own name.
according to the original spirit of the institution, the But at the close of this very same Life of Aris-
chorus was the only essential part of a play, tophanes (p. xxxix. ) we find the error which we
and the public functionaries knew nothing of the have to expose, but yet combined with truth as to
author as such, but only of the teacher of the chorus. the main fact, in the statement that “ the actors of
Now we can easily understand how, when a poet Aristophanes were Callistratus and Philonides, in
was wealthy and fond of enjoyment, he might whose names (8ův) he exhibited his own dramas,
choose to assign the laborious duty of training the the public (or political) ones (td Snuotiká) in the
chorus and actors to another person ; and thus, name of Philonides, and the private (or personal)
besides the reasons already stated for a poet's using ones (rd lowtiká) in that of Callistratus. ” It seems
another's name at the commencement of his career, that the grammarian, though himself understand-
we see another ground on which he might continue ing the meaning of diá, copied the error into which
that practice, after his reputation was established. some former writer had been led, by supposing
Now we learn from Aristophanes himself, to say
that it referred to the actors : for, that it cannot
nothing of other evidence, not only the fact that he have that sense in the passage before us, is obvious
brought out his early plays in the names of other from the tautology which would arise from so
poets, but also his reasons for so doing. In the translating it, and from the force of the faut où ;
Parabasis of the Knights (v. 514), he states that namely, “ the actors of Aristophanes were Callis-
he had pursued this course, not from want of tratus and Philonides, by whom as actors he exhi-
thought, but from a sense of the difficulty of his bited his own dramas. " We may, however, with
profession, and from a fear that he might suffer great probability regard the passage as a later in-
from that fickleness of taste which the Athenians terpolation: how little credit is due to it is plain
had shown towards other poets, as Magnes, Crates, from the fact that the distribution of subjects in the
and Cratinus. Again, in the Parabusis of the last clause agrees neither with the testimony al-
Clouds (v. 530), he expresses the same thing in ready cited, nor with the information which we
the following significant language :-
derive from the Didascalive, as to the plays which
Kaya', rapbévos gap čr' i1, koủk nu Tu MOL TEKEîv listratus. From the Didascaliae and other testi-
were assigned respectively to Philonides and Cal-
εξέθηκα, παις δ' ετέρα τις λαβούσ' ανείλετο,
monies, we find that the Bubylonians (B. C. 426)
where the last words evidently imply, if the figure and the Acharnians (B. C. 425) were also brought
is to be interpreted consistently, that the person in out in the name of Callistratus ; and that the first
whose name he brought out the play referred to play which Aristophanes exhibited in his own
(the Daetuleis) was unother poet. It was evidently name was the Knights, B. c. 424 (68. 8áyon. . . . 81
the word oliv in this passage that misled the autoù toù 'Aplotopavous, Didasc. ). And hence
scholiast into his fancy of a legal prohibition. the notion has been hastily adopted, that he hence-
We must now inquire what light the ancient forth continued to exhibit in his own name, until
grammarians throw upon the subject. The author towards the close of his life, when he allowed
of the anonymous work, ſlepi kwupdías, who is de- Araros to bring out his plays. But, on the con-
cidedly one of the best of these writers, states (p. trary, we find from the Diduscaliae that he brought
xxix. ) that “ Aristophanes first exhibited (ebidae) out the Birds (B. C. 414) and the Lysistrata (B. C.
in the archonship of Diotimus (B. C, 427), in the 411) in the name of Callistratus (8. a Kallio.
name of Callistratus (8. d Kalliotpátov); for his Tpátou).
political comedies (Tds Tolitikas) they say that he Thus far the testimonies quoted have only re-
gave to him, but those against Euripides and Socrates ferred to Philonides in generul terms: it remains
to Philonides ; and on account of this (tirst drama) to be seen what particular plays Aristophanes
being esteemed a good poet, he conquered on sub-brought out in his name. From the above state-
sequent occasions (τους λοιπούς, sc. χρόνους), en- ments of the grammarians it might be inferred that
rolling his own name as the author (errypapóuevos). Aristophanes used the name of Philonides in this
Afterwards he gave his dramas to his son" (Araros). manner before the composition of the l’nights ; but
The play which he exhibited on this occasion was this is probably only a part of the error by which
the Aaitancis (Vub. l. c. and Schol. ). To the same it was assumed that, from the time of his exhibiting
effect another respectable grammarian, the author of the Knights, it was his constant custom to bring
the life of Aristophanes, tells us(p. xxxv.
