¹ Aristophanes, , Clouds, ll. 537–544Google Scholar, trans. Beare, W., “The Costume of the Actors in Aristophanic Comedy,” Classical Quarterly n.s. 4 (1954): 66.Google Scholar

² Körte, A., “Archäologische Studien zur alten Komödie,” Jahrbuch des deutschen archäologischen Instituts 8 (1893): 61–93Google Scholar; Beare, “The Costume of the Actors in Aristophanic Comedy”; Webster, T. B. L., “The Costume of the Actors in Aristophanic Comedy,” Classical Quarterly n.s. 5 (1955): 94–95CrossRefGoogle Scholar; Stone, Laura M., Costume in Aristophanic Comedy (New York Arno Press, 1981)Google Scholar; Pickard-Cambridge, Arthur, Dithyramb, Tragedy, and Comedy, 2nd ed., rev. Webster, T. B. L. (Oxford: Clarendon, 1962)Google Scholar; Cornford, Francis Macdonald, The Origin of Attic Comedy (1914; rpt. Gloucester, MA: Peter Smith, 1968).Google Scholar Standard textbook presentations of the subject include Brocken, Oscar, History of the Theatre, 6th ed. (Needham Heights, MA: Allyn and Bacon, 1991), 20–22, 29Google Scholar, and Gillespie, Patti P. and Cameron, Kenneth M., Western Theatre: Revolution and Revival (New York: Macmillan, 1984), 88–90, 100–103.Google Scholar

³ See, for example, Pickard-Cambridge, 132 ff.

⁴ Trans. Rogers, B. B., in The Complete Plays of Aristophanes, ed. Hadas, Moses (New York: Bantam, 1962), 22.Google Scholar

⁵ See Aylen, Leo, The Greek Theater (London: Associated University Presses, 1985), 42Google Scholar; and Pickard-Cambridge, 145.

⁶ Pickard-Cambridge, 144–52; and Sifakis, G. M., Parabasis and Animal Choruses (London: Athlone, 1971), 80.Google Scholar

⁷ Nicoll, Allardyce, Masks, Mimes, and Miracles: Studies in the Popular Theatre (1931, rpt. New York: Cooper Square, 1963), 31.Google Scholar

⁸ See, for example, Bieber, Margarete, The History of the Greek and Roman Theater, 2nd ed. (Princeton: Princeton University Press, 1961), 38–39Google Scholar; and Nicoll, 20–25.

⁹ Körte, A. cited in Sifakis, 16.Google Scholar

¹⁰ See Bieber, 38–39; Nicoll, 21; and Trendall, A. D. and Webster, T. B. L., Illustrations of Greek Drama (New York: Phaidon, 1971), 19.Google Scholar

¹¹ See Nicoll, 20–21, and Trendall and Webster, 19, for the development of this argument.

¹² Aylen contends that the focus on wine and revelry has trivialized the reputation of Dionysus and argues for greater emphasis on the profound and dynamic powers inherent in the fertility and growth aspects attributed to this multi-faceted god (41–42).

¹³ Cornford, 111, traces this view to Chambers, E. K., The Mediaeval Stage (Oxford: Oxford University Press, 1903).Google Scholar

¹⁴ Cornford, 106.

¹⁵ The argument we summarize here is developed in Lerner, Gerda, The Creation of Patriarchy (Oxford: Oxford University Press, 1986), 39–44, 145–152.Google Scholar

¹⁶ Griot, J. E., Dictionary of Symbols, trans. Sage, Jack (New York: Philosophical Library, 1962), 241.Google Scholar

¹⁷ Neumann, Erich, The Great Mother: An Analysis of the Archetype, trans. Manheim, Ralph (Princeton: Princeton University Press, 1955).Google Scholar

¹⁸ Neumann schematizes the construction he calls the Archetypal Feminine to delineate its many facets and their interrelationships. See The Great Mother, chart opposite p, 82.

¹⁹ See also Samuels, Andrew, Shorter, Bani, and Plaut, Fred, A Critical Dictionary of Jungian Analysis (London: Routledge, 1986), 32–33.Google Scholar

²⁰ Keuls, Eva C., The Reign of the Phallus: Sexual Politics in Ancient Athens (New York: Harper, 1985), 2.Google Scholar

²¹ Aeschylus, , Eumenides in Aeschylus I: Oresteia, trans. Lattimore, Richmond (New York: Washington Square Press, 1953), ll. 658–660.Google Scholar

²² Zeitlin, Froma I., “The Dynamics of Misogyny: Myth and Mythmaking in the Oresteia,” in Women in the Ancient World: The Arethusa Papers, eds. Peradotto, John and Sullivan, J. P. (Albany: SUNY, 1984), 160.Google Scholar

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²⁴ Pomeroy, Sarah B., Goddesses, Whores, Wives, and Slaves: Women in Classical Antiquity (New York: Schocken Books, 1975), 71–72Google Scholar; see also Zinseriing, Verena, Women in Greece and Rome (New York: Abner Schram, 1972), 22–24.Google Scholar

²⁵ Illustrations of floorplans of Athenian houses are reproduced in Keuls, 96 and 211.

²⁶ See Stone, 99, for a description of the convention of men playing women's roles in Aristophanes’ plays. Sue-Ellen Case discusses the gender oppression inherent in this convention in “Classic Drag: The Greek Creation of Female Parts,” Theatre Journal 37 (1985), 317–28.

²⁷ See Keuls, Fig. 328, “The cult of the domestic herm: a garlanded penis near a home altar.”

²⁸ See Keuls, Fig. 65, “The phallus as a decorative element” and Fig. 78, “Naked and clothed girl dancing around phallus.”

²⁹ Cornford, 114, suggests in his analysis of the phallic procession represented in Aristophanes' Acharnions, that the original hero of the ritual drama was an incarnation of Phales, the phallic god, in human form and, by extension, an incarnation of the phallus itself.

³⁰ Campbell, Joseph, The Hero with a Thousand Faces (Princeton: Princeton University Press, 1949), 37Google Scholar; see also Neumann, Erich, The Origins and History of Consciousness (Princeton: Princeton University Press, 1954), 131.Google Scholar

³¹ See, for example, Neumann, , Origins, 231.Google Scholar

³² Campbell, 37.

³³ Aristotle's Poetics, trans. Butcher, S. H. (New York: Hill and Wang, 1961), Books II–V, 52–59.Google Scholar

³⁴ For the philosophic notion of opposites defining each other, see Plato, Laws 7,816, quoted in Duckworth, George E., The Nature of Roman Comedy: A Study in Popular Entertainment (Princeton: Princeton University Press, 1952), 306.Google Scholar

³⁵ Stone, 99.

³⁶ Ferris, Lesley, Acting Women: Images of Women in Theatre (New York: New York University Press, 1989), 21.Google Scholar

³⁷ The debate is summarized in Stone, 73–75.

³⁸ Beare, “The Costume of the Actors in Aristophanic Comedy”; Webster, “The Costume of the Actors in Aristophanic Comedy;” Beare, W., “Aristophanic Costume Again,” Classical Quarterly n.s. 7 (1957): 184–85CrossRefGoogle Scholar; Webster, T. B. L., “A Reply on Aristophanic Costume,” CQ n.s. 7 (1957): 185CrossRefGoogle Scholar; Beare, W., “Aristophanic Costume: A Last Word,” CQ n.s. 9 (1959): 126–27.CrossRefGoogle Scholar

³⁹ Ibid., 96. This idea is borne out, says Stone, by the evidence of bronze and terracotta statuettes which can be linked more directly to Old Comedy. Surveying this iconography, Stone counts 22 phalluses of the hanging variety and 83 of the tied-up or coiled types.

⁴⁰ See, for example, the illustrations in Bieber, 129–46.

⁴¹ Stone, 97.

⁴² We rely on Stone, 80, 102–05, in our analysis of the red tip and its possible meanings.

⁴³ Stone, 104–05, observes that this is the case with the terra-cotta statuettes.

⁴⁴ The Poet and the Women (Thesmophoriazousae) in The Frogs and Other Plays, trans. and introd. by David Barrett (Baltimore: Penguin, 1964), 121, quoted in Ferris, 27.

⁴⁵ Ferris, 27.

⁴⁶ Trans. Webb, R. H. in The Complete Plays of Aristophanes, 272.Google Scholar

⁴⁷ Trans. Hadas, Moses in The Complete Plays of Aristophanes, 179Google Scholar; interpretation of action from Aylen, 103.

⁴⁸ Cornford, 112.

⁴⁹ See also the late fifth-century South Italian vase depicting the thrashing of a slave, Bieber, Fig. 513, or Trendall and Webster, IV, 15.