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Old comedy and satyr plays…

Old Comedy and Satyr Plays

1. Which of the following vase paintings appear to depict scenes from Old Comedy, and which from Satyr plays?

The Aulos-playing Satyr Vase – Satyr
The Cheiron Vase – Old Comedy
The Choregos Vase – Old Comedy
The Pronomos Vase – Satyr
The Tarentine Vase – Satyr
Vase 96AB113 – Old Comedy
Vase 96AE112 – Old Comedy
The Wurzburg Orestes – Satyr

2. Drawing on the evidence provided by these vase paintings, the plays you have read, and other appropriate online sources:

i. what would seem to be the main characteristics of Old Comic masks, costumes and stages?

Masks: exaggerated facial features in particular the eyes, nose and mouth, quite representative rather than detailed like the tragic masks

Costumes: physically grotesque, emphasis on the stomach and phallus, largely padded, men wore short tunics etc to make them look more ridiculous

Stages: small stages, very sparse, wooden and temporary, much less grand in comparison to tragic stages

ii. what appear to be the main characteristics of Satyr play masks, costumes and actors?

Masks: still relatively exaggerated, almost drunken expressions, heightened expressions – representative of mood / emotion and highlighted features i.e. eyes, mouth etc

Costumes: half man / half goat, not as exaggerated as the comic costumes but still very unnaturalistic

Actors: young boys, strong physiques, ability to play musical instruments (shown in most of the vases)

3. Read the analytical descriptions for the Pronomos Vase and the Choregos Vase. Using the web-searching and site-evaluation skills that you have developed, find information about, and devise an analytical description that might accompany one of the other vases.

The Vase 96AB113 is obviously a comic vase. The figures on the left and the right are easily determined as comic characters due to their grotesque, exaggerated costumes, which emphasis their stomachs, chests and phallus. The stage they are performing on also looks like a traditional comic stage; not as extravagant as the tragic stages, usually wooden with little performance space. The focus was therefore on the actors rather than the surroundings. The figure on the right is also wearing a crown, used to represent status as a king or authoritative figure. The actor in the middle is carrying what looks like a snake and is fully clothed, he could represent a less comic figure. All the masks are exaggerated, with the focus on the eyes and mouth, which was typical of comic productions.

4. With reference to the extract from Csapo and Slater on Comic Vases, how reliable are these vase paintings as evidence for 5th-century B.C.E. staging of Old Comedy and Satyr plays in Athens?

As Csapo and Slater state, the comic vases do preserve some of the moments from the comic and satyr plays, for example they provide us with a clear idea of the sort of costume that was worn, the masks used, and they style of performance i.e.highly exaggerated in the old comedies. In some of the vases they also show the basic staging used for the old comedies which is also beneficial, but they do not show extensive detail. Also they are only based on artistic interpretation and were probably produced with the intent that they would be displayed in people's homes and therefore should be visually pleasing, so for these reasons we cannot use only these images as evidence for the staging of the plays.

: 29 Oct 2004 10:51 |  Tags: Sst1 |  Comments (1) |  Close comments |  Report a problem

Review of frescos work…

All the questions were answered fully and in detail by everyone. The most useful ones were those that contained photos e.g. Anna's blog and Natalie's blog and ones that had links to sites or photos e.g. Frankie, Gethin, Owen, Kali and James's. Ones that broke down the questions like Annisa's were also really helpful.

: 29 Oct 2004 10:28 |  Tags: Sst1 |  Comments (0) |  Close comments |  Report a problem

Frescos

Frescos

*Using Roman Wall Paintings (frescos) as 'Evidence' for Traditions of Staging in Greece.
These Roman frescos from Pompei were preserved by the eruption of Vesuvius in 79 A.D. around 500 years after the plays of Aeschyus, Euripides and Sophocles were first staged in Athens. They depict myths that were the subject of 5th-century Athenian tragedy, and that continued to be represented on the Roman stage, both in revivals of Greek plays, and in later plays written in Latin.*

1. Consider the depictions of mythological scenes:

i What are the main similarities and main differences between the way in which the death of Pentheus is depicted in this fresco and in Euripides' Bakkhai? (Use an online text of the Bakkhai if you do not have your copy to hand.)

!!

This depiction of the death of Pentheus is more artistic and beautiful than the original description given in the play. The written description states that Pentheus is horribly dismembered by his mother and ripped apart limb by limb. In comparison, the depiction shows Pentheus surrounded by the women about to be stabbed…perhaps it shows the early stages of his killing. However the women are shown as they are described in the play, with vines in their hair, and it is easy to see which woman is Agave as she is dressed and positioned in a way that makes it easy to understand she is the main protagonist.

ii. Compare and contrast the way in which the death of Iphigenia is depicted in this fresco with how it is recounted in Aeschylus' Agamemnon, and/or in Euripdes' play Iphigenia at Aulis.

The depiction of the killing of Iphigenia is very different to the description given in Agamemnon. Her death is recounted as taking place at a port she is taken to with a gag in her mouth and clothed in saphron, which she holds around herself to preserve some dignity. The killing takes place in front of a group of warriors. The painting however, shows her taken away by two soldiers, with no gag and her clothes have fallen away to her waist. The fresco also shows Clytemnestra crying as her daughter is taken from her, the play does not indicate that Clytemnestra was present at the time of her daughter's death.

iii. Why do you think the similarities and differences which you have identified may exist?

Similarites between the descriptions in the plays and the frescos exist because the myths and stories recalled were essentially all the same, with the same major events and so on. However, the way in which they were told and passed through generations may have altered slight details which is where some of the differences may have come from. Also the paintings allow for artistic impression. In the case of the killings, these would never have been shown on stage, so the artist would have to paint the image using only the information given via dialogue in the play or from a story. The paintings also tone down the violence depicted in the plays / myths. This could be due to the fact that these frescos would have been displayed in the home and were produced as works of art rather than accurate historical / mythological depictions.

iv. On reviewing your responses to the above questions, how useful do you find these Roman frescos to be as evidence for traditions of tragic performance in 5th-century Athens?

The frescos are not useful when assessing the traditions of tragic performance in 5th century Athens as they are not showing the performance conditions. They also depict killings which would never have been shown on stage and so are not accurate in that respect. However what they do show is the events described in ancient myths and legends and so support these stories visually.

2. Examine this mosaic from the House of the Tragic Poet in Pompei.

i. What different types of masks can you see?

There appear to be a number of masks in the mosaic scene. One looks like a depiction of Dionysus with vines entwined in his hair, one looks like it could be a female figure and the others look like Gods or older men. The mask worn by the figure on the left of the fresco looks like a mythological creature as it is different from the others in that it doesnt seem to show a human face or human features.

ii. What do you think is going on in this scene?

The scene could show the inside of the Skene which actors used as a type of modern day dressing room as they seem to be changing costumes etc. It could also show a rehearsal for a play, or the moment before a performance. I think with the costumes and masks depicted, it can be assumed that the figures are actors or members of a chorus.

*3. Look at the masks in these frescos depicting actors, and those in the Pronomos Vase. *

i. What differences can you discern between the 'tragic' masks depicted in the frescos and the vase?

The tragic masks in the frescos seem to be very representative of the emotion of tragedy rather than realistic. In comparison, the masks shown on the Promonos Vase are far more realistic and life like.

ii. Why might the masks be different?

The masks may be different simply due to differences in artistic interpretation. Also the frescos were painted some time after the vases and so some information concerning the detail of the masks may have been altered or lost altogether. They could also be different because different groups of performers may have used different types of masks, I cant imagine they all would have looked the same??

iii. Why do you think the ancient artists (and viewers) might have been so interested in depictions of actors and masks?

The theatre and everything about it was a huge part of ancient Greek culture and almost the entire population had an interest in performance and enjoyed watching plays. Therefore they would also have been interested in the frescos and vases as they depicted important moments in the plays and myths and were also beautiful pieces of art which would have been used to decorate the home. The masks were a big part of the performance and were usually very intricate and beautiful…therefore again they would have been admired and artists and viewers may have liked to have decorated their houses with paintings of them.

4. Consider this painting from the Villa of the Mysteries, Pompeii.

i. Is it similar or different in subject to the vases considered in Q.3 above?

I think the painting depicts a satyr mask which has not been shown in any of the other vases considered. It is also different to the vase shown in Q3 in that it looks as though it shows masks intended for satyr plays and not solely for tragedy. In terms of detail, the masks are again very intricate and there is emphasis on the emotion that they portray.

ii. What do you think the purpose of such paintings might have been?

The paintings could have been produced to record performances, myths and legends. However, they cant be used exclusively to assess ancient performance conditions / style / costume etc as the Greeks and Romans were prone to changing details perhaps to suit another purpose, i.e. the paintings may have been produced to decorate homes and therefore would need to visually pleasing etc.

: 23 Oct 2004 14:42 |  Tags: Sst1 |  Comments (11) |  Close comments |  Report a problem

Web resources review…

Visual Resources - Staging the Eumenides

1. Working in pairs, review a selection of images from the Web Resources page.

link
link

i. Is it possible to determine whether the ancient vase paintings are depictions of theatrical performances, or of the myths upon which the plays are also based?

I dont think its possible for someone limited in Ancient Greek historical knowledge i.e. me to determine whether the vase paintings are depictions of theatrical performances…however based on evidence such as: women performing (there were no women actors in performance) no masked characters (the chorus and performers were usually masked) and props such as snakes (not sure they wouldve had these…?), we have come to the conclusion that the vase paintings must be based on myth rather than performance.

ii. In the light of your response to i. above, how significant may ancient vase paintings be as evidence for ancient theatre practice?

Annisa and I decided that even though we felt the vases were depictions of myths…they were probably inspired by some form of performance in order to achieve a lifelike representation of the actors. Therefore, when assessing how significant the paintings are as evidence for theatre practise, we can say that they reflect some form of performance perhaps with some individual artistic interpretation.

2. View digital visualisations of the 5th-century Theatre of Dionysus in (a) the swimming pool - Greek Drama Gallery, and (b) the Theatron Module.

To use the Theatron Module:

go to >Delivered Applications >Viewers >Cosmo Player, and double-click on the Cosmo Player icon
still in Delivered Applications, go to: >Applications >Theatron, and double-click on the Theatron icon in the right-hand window.
Password: UOW_UKIPA
Once inside Theatron, see the Phlyax stage in the 'Temporary Stages' section.

i.The 4th century B.C.E. Phlyakes vases from the south of Italy show temporary wooden stages which we believe are similar or identical to those that would have been used for comic performance in the 5th century B.C.E. How adequate or appropriate would such a stage have been for the performance of tragedy in the 5th century B.C.E., in particular the Eumenides?

Compared to later stages, the temporary wooden Phylakes stage would not have been very appropriate for the performance of the Eumenides, however if they knew no better at the time, it would not have been impossible to stage the play. The stage lacks any offstage space (skene) and if the little virtual man is to scale, the space is very small, however on the animation shown, there are steps leading offstage to an area where the actors could exit to and stand or make entrances from. I'm not sure if all the performers (in this performance in particular there are the three main actors, the chorus and others including the Athenians) would be able to fit on the space at one time and act effectively. The Theatron shows no seating for the audience, however the animation shows that they may have just sat or stood around the stage on some form of wooden seating. The information provided on the Theatron says that the space was usually used for mime or comic performances – a little different from the tragedy of Eumenides, so the space would not have been ideal in comparison.

ii. Where could Klytemnestra, Apollo and Orestes have performed in the opening scene of the play?

Clytemnestra, Apollo and Orestes are said to enter from the temple / shrine of Apollo, so may have used the wooden door entrance at the back of the stage and performed on the main performance space together.

iii. Where could the chorus have performed?

It doesnt look like there would be enough space on stage to incorporate the three main actors and the chorus, so the chorus may have performed down the steps directly in front of the audience. If the stage wasnt a rectangular shape it may have been possible to place the chorus in a semi circle behind the main actors, but given the shape of the Phylakes, I dont think that would have been effective.

3. In Theatron, explore the model of the Theatre of Dionysos, which represents the theatre as it may have been during the Lycurgan period (338 - 326 B.C.E.). Compare and contrast its stone skene with the wooden Phlyakes stage.

i.What possibilities and limitations for performance does each type of scene building allow or impose?

The stone skene building gives the advantage of suitable, hidden off stage space for actors to exit into and enter from. Plus it provides an area for actors to change costumes / masks etc. The theatre itself obviously has a much larger area to be used in performance which means the chorus and the three actors can all be on stage at the same time with no space problems. However, the theatre of Dionysus is on such a big scale that all productions must be performed on a grand scale in order for those at the back to hear and appreciate the performance fully. The wooden stage holds its audience in such an intimate position that none of the people watching would miss the action of the play.

ii.The action of the Eumenides is set in three locations. What are they?

1 – Temple of Apollo at Delphi
2 – Athena's Shrine in Athens
3 – The Acropolis

iii.How might these scene changes have been staged?

I would imagine that the scene changes would have been fairly subtle, especially as the dialogue appears to continue almost flawlessly through some changes in setting. Therefore, the location may have been indicated by something symbolic, for example, a statue of Apollo or Athena to indicate their shrines. The Greek audience were also more of an aural audience rather than a visual one and so would have picked up on a change of scene through the dialogue spoken by the actors / chorus.

4. Traditionally, it has been assumed that the theatrically 'strongest' position for an actor was directly in front of the central doors of the skene. Recently, however, in Tragedy in Athens, David Wiles has argued that, for Athenians, the most symbolically potent position was the centre of the orchestra. Explore both of these theories by considering the 'binding scene' in the Eumenides:

i. What kinds of spatial and choreographic relationships between theatre, spectators, actors and chorus, could have been established in each case?

ii.How might different spatial relationships have affected the meaning of the scene, or the characterisation and status of the characters and chorus?

The Greek theatre was never an intimate one, hence the use of masks and costume, hiding gestures and expressions we view as essential in contemporary theatre. However, alot could have been communicated through spatial relationships and choreography. In the binding scene, Orestes fear of the furies needs to be shown, therefore the Chorus could surround him which indicates a feeling of threat or superiority. The chorus of furies should always appear as a group as they all work with the same intent and purpose and as a function, they always come as a group. Status could be shown through levels, for example, the Gods could be placed higher than the other characters perhaps in front of the doors of the Skene to show their importance. The central part of the orchestra could also signify status or importance as it is a central focus point, therefore Orestes as the main protagonist could be positioned at this point.

5. Where are the best and worst seats in the 4th century theatron? Why?

The best seats in the 4th Century theatre would be the central wedge in the lower theatron (auditorium) as they give a view of the stage straight on and are close enough to pick up on all the dialogue. These seats were usually reserved as seats of honour (prohedria). The worst seats would be those in the upper theatron, although acoustics were impressive given the scale of the theatre they still would not have as good a view as those lower down. The semi circular curve of the auditorium allows mostly everyone to have a good view of the performance space.

i. How did the physical conditions of spectatorship for ancient Athenian audiences differ from the usual conditions of spectatorship in a conventional theatre building today?

The ancient Athenian theatres were packed full of people, the Theatre at Dionysos could hold thousands and unless you were of some importance you would be seated practically on top of the person next to you. Therefore they lacked the comfort we expect from the theatre today. The plays were also performed in broad daylight and there was no restriction on the amount of noise, so audiences could be loud and rowdy, and were often encouraged to comment or express their views on the action. Although it may not have been as comfortable or civilised as we see theatre today, the atmosphere must have been one of anticipation and excitement. Theatre was a huge part of the culture and it gathered everybody together to share in something they all enjoyed.

ii. Do these differences suggest a fundamentally, or merely superficially different theatrical experience?

I think they suggest a fundamentally different theatrical experience, especially in terms of the way an ancient audience would have viewed the play compared to a contemporary audience. As mentioned before, we are generally a very visually stimulated generation, whereas the Greeks appreciated the language and came to 'hear a play'. Therefore they would be focused on dialogue moreso than the visual aspects. Also the setting for the plays would have been taken into consideration by the playwrights – adding in plenty of poetic choralodes which could be performed with grandiose would have been applauded by a grecian audience. Today however, we look for intimacy and emotion in a performance and would stage the play completely differently to suit the performance space and the audience type – incorporating facial expression and so on. Therefore the changes affect how the performance is recieved making them fundamental changes.

iii. Read the short note on Greek Audiences, and the longer text by Csapo and Slater. How might a style, or styles, of performance have evolved in response to the scale and sight-lines of the theatre, and the nature of the spatial and emotional relationship between Athenian spectators and performers?

As far as I’m aware, Greek theatre did not evolve from a naturalistic style of performance that we are used to today, but instead evolved from dancing and choreographed storytelling to music. Therefore the style of performance that emerged to cater for the audiences in ancient Greece would not have been that far from their original style. There would be the need for grand gestures and movement in order to convey emotions and so on to everybody, in particular, those right at the back of the theatron or those at the side with limited sightlines. Also due to the use of masks, facial expressions were lost, therefore all emotion must have been conveyed through vocality

…it must have been emotive with the ability to carry to those at the edge of the theatre. In today’s terms, the style of performance might be considered to be very melodramatic but in order to portray every detail of the plot to the entire audience it needed to be a ‘big’ style, plus they needed to maintain audience focus and attention which was easily lost.

iv. Might different parts of the theatre have demanded different styles of performance?

It could be argued that those at the back of the theatron would need the vocality of the actors to be a lot more expressive and certainly louder, although the acoustics should have carried their voices quite well. The actors would have to perform to the audience as a whole as well, whether they did this by performing merely out to all from the orchestra or whether they explored all areas of the stage and directed different lines to different areas I don’t know, but they would’ve have needed to play out to all individually or as a group.

v. How might the style of choral performance have differed from that of the character actors?

The chorus was made up of the finest dancers / performers from the ten demes therefore the style of performance would have been heavily based on choreographed movement, music and use of rhythm. The chorus would generally perform as a whole although sometimes individuals would take lines and take on a character of sorts. However the choral odes were most effective when performed as a whole group as the dialogue would be projected successfully to the entire audience and the emotion conveyed may be more powerful.

6. Taking into account your findings in the above explorations, suggest one or more ways in which the voting scene, and the final hymn by the Women of Athens have been staged in the Eumenides.

The staging of the voting scene would need to take into consideration the status of characters such as Athena. She would need to be placed either in the centre of the orchestra or in front of the doors of the skene or in another prominent position in order to show superiority and respect for the God. The Athenians would need to be gathered around leaving her in view, however they should be on a different level to show the difference in social status and importance. Athene's vocality and movement should be representative of a God – perhaps stereotypically over the top, making large gestures and speaking with conviction and power. The Athenians in comparison should reflect the Athenian audience, perhaps being rowdy and colloquial, ad-libbing amongst each other and conveying a sense of community. The women of Athens hymn would be read by the Chorus. I feel that as it is the last piece in the play it should be read aloud as a whole, giving heightened impact through volume and unity of rhythm and so on. There should be limited movement to allow the meaning of the words to have sufficient effect. Essentially they bring the play to a close and so should end the play powerfully, combining all the successful and effective elements of chorus work to produce a strong ending.

: 15 Oct 2004 11:57 |  Tags: Sst1 |  Comments (1) |  Close comments |  Trackbacks (2) |  Report a problem

SST1 stuff…argh work

History and Historiography: 1

*Week 2 Active Learning Tasks*

Browse through one web-site from each of the four sections below.

A. Perseus Atlas

http://www.perseus.tufts.edu/cgi-bin/patlas

Had to change the website for this one, with a little help from someone better informed in the workings of computers than myself…still, its always handy to know where Greece is when studying it so this site is pretty useful for that.

This map of ancient Greece is small but if the system worked and it could be enlarged, im hoping it would help me to understand the geography of Ancient Greece...hoping being the important word!

B. Greek Architecture

http://harpy.uccs.edu/greek/greek.html

This website is great in terms of photographic evidence of ancient Greek architecture. In terms of theatre history, it provides some great thumbnails of the theatre at "Epidauros": http://harpy.uccs.edu/greek/arch/epidauros2.jpg and the theatre of Dionysus One thing I did notice was that it provided some 'birds-eye' views of the theatres and architecture in general, which was useful in generating some idea of the scale of the projects. The site itself was simple and easy to use (I could manage it and thats saying something) and the pictures were of good quality and could be enlarged unlike some other websites…! http://harpy.uccs.edu/greek/arch/delphi6.jpg! this photo shows some of the foundations of the stage buildings which I had never seen before and was an interesting perspective – different from the usual views of the performance space or seating area. The only thing the website lacked was informative and detailed description but i'm assuming a well educated historian could fill in those blanks!

C. Ancient Greece and Rome

http://www.perseus.tufts.edu/art&arch.html

I felt this site was better than the other option given because it was so extensive, whereas the other site, although full of many photos in both black and white and colour, was still limited in comparison. This site however is immense! The page the link takes you to is centred on art and archaeology which provides a historian with beautiful images of theatre architecture and art from both Greece and Rome…with detailed descriptions of the pictures usually given. Plus all the links appear to work which is helpful! However, I felt the best part of this site was "the main classics page…": http://www.perseus.tufts.edu/cache/perscoll_Greco-Roman.html From here you can explore a huge number of useful Greek and Roman materials including texts which provides the reader with numerous texts and speeches both in Greek and translated, museum photography which contains links to museum images including photos of vases and coins from the Louvre and artwork and pottery from the British Museum in London and site photography which contains links to a vast collection of photos taken by professionals and enthusiasts. There are approximately 500 photos or more on each link so you're spoilt for choice really…all the photos are of great quality and are all annotated therefore providing those with little knowledge of Greek and Roman architecture and so on with some basic facts.

D. Ancient Theatre

http://duke.usask.ca/porterj/skenotheke.html
I felt this site was the most useful in discovering more about Ancient Greek Theatre…for a start it was so easy to use and all the links seemed to work which was a good start. It also provided bibliographies and links to external sites which would be very valuable for any historian or anyone researching this area as it means you have access to numerous sources, all of which have been certified as reliable or useful by the creator of this particular site. I also found a link to the Theatron Project which appears to have cropped up in our lectures before and im told has strong links with Warwick University and our own Hugh Denard. I thought the reconstructions were fantastic as they showed the different stages of development and were very concise. The theatres section of the site was brill...it seemed like it listed every single ancient theatre that could possibly have existed in Greece and all the links provided clear, useful photographs including plans such as this one...Theatre Plan
There were also a few links to virtual tours which were very impressive as they gave a totally different viewpoint and allowed a 360degree exploration of the theatre and emphasised the scale again.
In terms of valuable resources and usefulness…the above site is the best bet in my eyes but thats not to say that I would write off the other two sites as I thought they had positive points to them. For example I really liked… http://www.greatbuildings.com/buildings/Theater_at_Epidauros.html because it gave some really interesting information concerning the Theatre at Epidauros, for instance the date of its building, what it is constructed of and the setting - in this case it is a rural theatre, as shown in this photo which shows the picturesque surroundings
This site
http://www.whitman.edu/theatre/theatretour/home.htm was not in the least bit useful because none of the links worked. However, the links for Turkish theatre were up and running and the tours were pretty cool – in depth descriptions, images and factual information so im sure that when the Greek section is working it could be useful…but for now however, it was just frustrating!

Useful??
As mentioned throughout, all the sites are useful in their own individual ways…whether it be providing links, description, facts, information or images. Some, for example, the first Atlas site obviously need to be updated to ensure they are working correctly (!) but most are up to date and easy to use. They all seem to provide bibliographies and links also so if a particular site is lacking information, it can easily be found using the links provided.

Most Valuable Site??
Personally I thought this site was by far the most useful as it provided extensive links to everything you could possibly need when researching Greek theatre from the plays themselves to photos of the space in which they would have been performed and even the surrounding area, allowing you to build up a bigger image in your mind. It also provides an insight into art and general Grecian architecture through the museum links, showing other art forms of the time besides theatre. The site itself was so simple to use and was linked to so many external sites that you could use the site as a basis for all your research…it provides a central access point and should be every Greek theatre historian's homepage!! only joking – i think im becoming a little too enthusiastic about the site, i'll stop now!

4. Search the internet to find a further website to add to one of the categories above. Indicate how you found it, and explain why you think it should be added.

http://academic.reed.edu/humanities/110Tech/Theater.html

Although this site doesnt look like anything special when you first discover it, it was surprisingly informative and useful. For a start, it provides you with a "timeline of Greek drama": http://academic.reed.edu/humanities/110Tech/Theater.html#timeline which helps put everything in relation, it provides dates such as when certain plays were written, births and deaths of prominent playwrights and necessary dates concerning wars and other events at the forefront of Greek history…and im sure it will become handy when I start to get confused with the direction of the years BC. It also comments on the origins of Greek drama, the staging of an ancient play and although very basic, it gives an introduction to the typical Greek theatre structure It also provides terminology clearly. Again it gives links to external sites for further research.

5. Find the online Library Catalogue, and look up one of the books on your SST1 reading list. Note down the shelf number and its current status (on shelf / on loan etc.)

Author – Aristophanes
Uniform title – The Frogs
Title – Frogs / edited with introduction, revised text, commentary and index by W. B. Stanford.
Location - Central Campus
Classmark – PA 3875.R3
Loan Type – Standard
Status - Available
ISBN – 0862921155

: 08 Oct 2004 11:48 |  Tags: Sst1 |  Comments (2) |  Close comments |  Report a problem