Papers of the American School of Classical Studies at Athens — 5.1886-1890

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THE CHOREGIA IN ATHENS ASD AT IK ARIA.

89

Can the Nikostratos of the last line be identified with any person
known to us in literature? Among the numerous Athenians of this name
connected with the stage, we find a tragic actor who lived about 420 B. c.
(Xen., Sympos., 6. 3; Plutarch, Glor. Athen., 6), and the youngest
sou of Aristophanes, referred to by Athenaios (XTTT. 587) as a poet of
the middle comedy. The date of the actor is too early to admit of
identifying him with the Nikostratos of our inscription. With regard
to the son of Aristophanes little is definitely known, and we must
resort to comparisons to arrive at an approximation to his date. Ari-
stophanes' death is usually placed at 380 or 376 B. c, but there is nothing
to show how long he lived after his last extant work, the second edition
of the Plutus, which was brought out in 388 B. c, except that he seems
to have done a portion at least of the work on two plays which appeared
in the name of his son, Araros. Araros first exhibited under his own
name in 375 B. C, but must have been active under his father's guidance
for some time previous to this. It is reasonable to believe that Niko-
stratos made his first essays during the last years of his father's life,
and a rural deme would afford a young poet an excellent field for the
bringing out of his youthful productions, before he had acquired repu-
tation enough to secure admission to the great contests in the city. So
it seems plausible, and even probable, that the Nikostratos of our in-
scription was the son of Aristophanes.30

In No. 6, the dedicators are Ergasos and his two sons, one of whom
is named after his grandfather Phanomachos. With this we should
compare the inscription quoted above (Note 9) belonging to about the
same date, and in which the dedication is also by a father and his two
sons. Koehler, in publishing this inscription (Mitth., 1878, p. 229), does
notexpressan opinion as to how three persons can be named asvictorious
choregoi, but perhaps holds the same opinion as Reisch (De Musicis, p.
16), who believes that the inscription does not refer to a single victory,
but was dedicated in commemoration of several different victories.31
But a more plausible explanation, in my opinion, is that the three

in Ionic inscriptions of the middle of the fifth century and later, but this is, I think,
a coincidence rather than a survival. However, this form in Attika is characteristic
of the early part of the fourth century. The sporadic examples of ome;/a in Attic in-
scriptions of the fifth cent, already show a tendency to become roundi though the legs
are very flaring, even throughout most of the fourth century.

oiv, kut€xopriyT](re 5e birep avrov naX tov -jrarpbs TrevTa.Ki<TxL^'ias Spax^-as.—A. C. M.]

m

[Cy. Seventh Annual Report, p. 77
[Cf. Lysias, xix. 42: 'Apurrcxpai'Tis

31
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