PURA. Purism In Antiquity: Theories Of Language in Greek Atticist Lexica and their Legacy

Lexicographic entries

θυμέλη
(Phryn. Ecl. 135, Phryn. PS 74.9–11, Poll. 4.123)

A. Main sources

(1) Phryn. Ecl. 135: θυμέλην· τοῦτο οἱ μὲν ἀρχαῖοι ἀντὶ τοῦ θυσίαν ἐτίθεσαν, οἱ δὲ νῦν ἐπὶ τοῦ τόπου ἐν τῷ θεάτρῳ, ἐφ’ οὗ αὐληταὶ καὶ κιθαρῳδοὶ καὶ ἄλλοι τινὲς ἀγωνίζονται. σὺ μέντοι, ἔνθα μὲν τραγῳδοὶ καὶ κωμῳδοὶ ἀγωνίζονται, λογεῖον ἐρεῖς, ἔνθα δὲ οἱ αὐληταὶ καὶ οἱ χοροί, ὀρχήστραν· μὴ λέγε δὲ θυμέλην.

θυμέλην: Ancient [authors] used this [noun] instead of θυσία (‘sacrifice’), but contemporary [speakers] use it for that part of the theatre on which aulos- and cithara-players and others perform. But you will certainly call λογεῖον [the part of the theatre] where tragic and comic actors perform, and ὀρχήστρα [the part] where aulos-players and choruses [perform]: do not call [either] θυμέλη.


(2) Phryn. PS 74.9–11: θυμέλη· νῦν μὲν θυμέλην καλοῦμεν τὴν τοῦ θεάτρου σκηνήν. καὶ ἔοικε παρὰ τὸ θύειν κεκλῆσθαι ὁ τόπος οὗτος. Φερεκράτης δὲ τὰ θυλήματα, ἃ πέρ ἐστιν ἄλφιτα οἴνῳ καὶ ἐλαίῳ μεμαγμένα, οὕτω καλεῖ, θυμέλην.

θυλήματα de Borries, following Ruhnken : θηλύματα: cod. | οὕτω cod. : ὡσαύτως de Borries, following Ruhnken.

We now call the stage of the theatre θυμέλη. It seems likely that this place took its name from ‘to sacrifice’ (θύειν). But Pherecrates (fr. 247 = C.2) calls the θυλήματα, which are barley-cakes kneaded with wine and oil, in this way: θυμέλη.


(3) Poll. 4.123: καὶ σκηνὴ μὲν ὑποκριτῶν ἴδιον, ἡ δ’ ὀρχήστρα τοῦ χοροῦ, ἐν ᾗ καὶ ἡ θυμέλη, εἴτε βῆμά τι οὖσα εἴτε βωμός.

And the σκηνή is properly [the part of the theatre] for the actors, while the ὀρχήστρα is for the chorus: in this [there was] also the θυμέλη, which was either a kind of platform or an altar.


B. Other erudite sources

(1) Orio 72.10–3 (~ EM 458.30–4, [Zonar.] 1062.11–5; cf. EM 743.35–9): θυμέλη. παρὰ τὸ ἐπ’ αὐτῆς τίθεσθαι τὰ θυόμενα ἱερεῖα. τράπεζα δὲ ἦν πρὸ τούτου, ἐφ’ ἧς ἑστῶτες ἐν τοῖς ἀγροῖς ᾖδον, μήπω τάξιν λαβούσης τῆς τραγῳδίας.

In [Zonar.] and the EM the first sentence reads ἡ τοῦ θεάτρου μέχρι νῦν ἀπὸ τῆς τραπέζης ὠνόμασται, διὰ τὸ ἐπ’ αὐτῆς τὰ θύη μερίζεσθαι, τουτέστι τὰ θυόμενα ἱερεῖα. Both texts also omit πρὸ τούτου in the second sentence.

θυμέλη: [It takes its name] from the fact that the sacrificed victims were placed on it. Before this [time] it was a table, standing on which they sang in the fields, when tragedy had not yet taken [its] structure.


(2) Hsch. θ 872 (cf. Phot. θ 259): θυμέλαι· οἱ βωμοί. καὶ τὰ ἄλφιτα τὰ ἐπιθυόμενα.

θυμέλαι: The altars. And the barley-cakes offered in sacrifice (cf. Pherecr. fr. 247 = C.2).


(3) Hsch. θ 873: θυμέλη· οὕτως ἔλεγον ἀπὸ τῆς θυηλῆς τὸν βωμόν. οἱ δὲ τὸ ἐπίπυρον, ἐφ’ οὗ ἐπιθύουσιν, ἢ *ἔδαφος ἱερόν (AS39).

The interpretation ἔδαφος ἱερόν is also present in the tradition of Cyril’s lexicon, as indicated by the asterisk and the sigla A (cod. Vallicell. E. 11) and S (cod. Laurent. 57,39).

θυμέλη: They called thus the altar, from ‘sacrifice’ (θυηλή). But others [say that it is] the hearth, on which they sacrifice, or the sacred ground.


(4) Lexeis Rhetorikai 292.12–4 (= EM 653.7–8): παρασκήνια· παρασκήνιά ἐστιν εἴσοδοι αἱ εἰς τὴν σκηνὴν εἰσάγουσαι. σκηνὴ δ’ ἐστὶν ἡ νῦν λεγομένη θυμέλη.

παρασκήνια: The παρασκήνια are the entrances that lead to the stage. The σκηνή is the part now called θυμέλη.


(5) Su. θ 555: θυμέλη· ὁ βωμός. ἀπὸ τοῦ θύειν. ‘ὁ δὲ Ἀθάνας λήξας καὶ πολέμου καὶ θυμέλας ἔθετο’.

Ἀθάνας is the reading of the Suda codd., retained by Adler : Ἀθάνᾳ is the reading of cod. C for AP 6.46.4.

θυμέλη: The altar. From θύειν (‘to sacrifice’). ‘He (i.e. Pherenicus) who, having quitted the war and the altar of Athena’ (Antip.Sid. AP 6.46.4).


(6) Su. θ 556: θυμέλη· ἡ αὐλητική. ‘πολλάκις ἐν θυμέλῃσι καὶ ἐν σκηνῇσι τεθηλὼς βλαισὸς Ἀχαρνίτης κισσὸς ἔρεψε κόμαν’. Προκόπιος· ‘μητρὸς δὲ τῶν τινος ἐν θυμέλῃ πεπορνευμένων’.

θυμέλη: [The part of the stage] for aulos-playing. ‘[Whose] hair the twisting Acharnian ivy, luxuriant, often crowned in the orchestras and on stages […]’ (Simm. AP 7.21.3–4 = 3.3–4 Gow–Page, C.3). Procopius (Arc. 1.12): ‘[Antonia’s] mother being one of those who had prostituted themselves in the theatre’.


(7) Thom.Mag. 179.12–5: θυμέλην οἱ ἀρχαῖοι ἀντὶ τοῦ θυσίαν ἐτίθουν, οἱ δ’ ὕστερον ἐπὶ τοῦ τόπου τοῦ ἐν τῷ θεάτρῳ, ἐφ’ ᾧ αὐληταὶ καὶ κιθαρῳδοὶ καὶ ἄλλοι τινὲς ἀγωνίζονται μουσικήν. ἄλλοι δὲ εἶδος μουσικῆς τὴν θυμέλην λέγουσι.

The ancients used θυμέλη instead of θυσία (‘sacrifice’), but later [speakers] use it for the place in the theatre where aulos-players and singers to the cithara and others compete in musical competitions. But others say [that] θυμέλη is a kind of music.


(8) Hsch. θ 840 (~ Σ θ 124 = Phot. θ 254, Su. θ 544): θυλήματα· τὰ ἐπιφερόμενα ἄλφιτα εἰς θυσίαν (n).

θυλήματα: The barley-cakes brought for sacrifice.


C. Loci classici, other relevant texts

(1) Aesch. Supp. 667–8:
καὶ γεραροῖσι πρε-
σβυτοδόκοι †γεμόν-
των† θυμέλαι φλεγόντων.

I follow the text of Friis Johansen, Whittle (1980) and consider only the imperative γεμόντων to be corrupt.

And let the altars who receive the aged burn for the elders †let gather†.


(2) Pherecr. fr. 247 = Phryn. PS 74.9–11 re. θυμέλη (A.2).

(3) Simm. AP 7.21.3–4 (= 4.3–4 Gow–Page):
[…] πολλάκις ὃν θυμέλῃσι καὶ ἐν σκηνῇσι τεθηλὼς
        βλαισὸς Ἀχαρνίτης κισσὸς ἔρεψε κόμην […].

[Sophocles], whose hair the twisting Acharnian ivy, luxuriant, often crowned in the orchestras and on stages […]. (cf. B.6)


(4) Str. 10.3.9: […] μὴ γὰρ εἴ τις ἔκπτωσις πρὸς τὸ χεῖρον [γε]γένηται, τῶν μουσικῶν εἰς ἡδυπαθείας τρεπόντων τὰς τέχνας ἐν τοῖς συμποσίοις καὶ θυμέλαις καὶ σκηναῖς καὶ ἄλλοις τοιούτοις, διαβαλλέσθω τὸ πρᾶγμα, ἀλλ’ ἡ φύσις ἡ τῶν παιδευμάτων ἐξεταζέσθω τὴν ἀρχὴν ἐνθένδε ἔχουσα.

[…] For, if [music] is experiencing a decline to a lower standard now that musicians turn their art to sensual delights at symposia and in orchestric and scenic performances and the like, we should not lay the blame upon music itself, but should rather examine the nature of our system of education, since this is based on music.


(5) I.Pergamon Asklepieion 161A. 9–10 [mid-2nd century CE?]: ἐ̣πιβαλλέ[σ]θ̣ω πόπανα τρί̣α̣ ἐννεόμφαλα, [τούτων μὲ]ν̣ δύ̣ο ἐπὶ τὴν ἔξω θυμέλην Τύχηι καὶ Μνημοσύνηι […].

Let him offer three cakes, each with nine holes, two of which on the outer altar for Tyche and Mnemosyne.


(6) Porph. Abst. 2.59 [= Thphr. De pietate fr. 8]: τὸ δὲ παλαιὸν διὰ ποπάνων καὶ τῶν καρπῶν ἦν, ὡς ἀπεδείξαμεν. ὅθεν καὶ θυσίαι καὶ θυηλαὶ καὶ θυμέλαι ἐκαλοῦντο, καὶ αὐτὸ τὸ θύειν τοῦ θυμιᾶν εἴχετο καὶ τοῦ νῦν παρ’ ἡμῖν λεγομένου ἐπιθύειν.

But the ancient custom of sacrificing was with cakes and fruits, as we have shown. For this reason, sacrifices (θυσίαι) were also called both θυηλαί and θυμέλαι, and the act of sacrificing itself was connected [by etymology] with ‘to offer incense’ (θυμιᾶν) and with the verb we now use, ἐπιθύειν (‘to burn incense’).


D. General commentary

These two entries in Phrynichus’ lexica concern the meaning of the feminine noun θυμέλη, on the extent of whose polysemy the sources are divided. The Eclogue (A.1) glosses it with ‘sacrifice’ (θυσία), proscribing its application to the theatre, while the PS (A.2) explains the current meaning of the word as a theatrical term, with reference to the σκηνή (‘stage’), and then registers a unique usage in Pherecrates to denote ‘sacrificial cakes’ (θυλήματα). All these meanings and others discussed below are explicable in the light of the base verb θύωθύω ‘to burn, to sacrifice’, a connection already clear to most ancient scholars, including Phrynichus (see A.1, A.2, and B.1, B.5; GEW s.v. 2.θύω, DELG s.v. 2 θύω; the suffix is discussed by Frisk 1943, 50–5). Alternative and later etymologies connecting θυμέλη with τίθημιθύω, the verb of placing the offerings (Et.Gud. 266.43–4, a trace also in Orion, B.1), are fanciful, though sometimes accepted by modern scholars (e.g., Robert 1897, 441–2; criticism in Gow 1912, 214).

θυμέλη first occurs in Attic tragedy. In his detailed study of the word, Gow (1912, 214–33) proposes the following outline of its semantic development: θυμέλη originally referred to the hearth where something is burned (a denotation still clearly visible in [Eur.] Rh. 235[Eur.] Rh. 235, Eur. IA 152Eur. IA 152). It was thus a synonym of ἑστία or ἐσχάρα. From this basic meaning, the context of individual occurrences may have led to its being understood as ‘altar’, as in C.1 (a corrupt passage: discussion in Gow 1912, 221–4, Friis Johansen, Whittle 1980, vol. 2, 34–7; other instances of this meaning are Pratinas fr. 3.1 TrGFPratin. fr. 3.1, Eur. Supp. 64Eur. Supp. 64), Ion 114Eur. Ion 114, and 161Eur. Ion 161), or ‘braziers’ (Eur. El. 713Eur. El. 713), or ‘precincts’ (Eur. Ion 46Eur. Ion 46, and 228Eur. Ion 228, where ‘altars’ would do as well, however). These meanings, all found in Attic poetry, appear to have died out quite quickly. They only survive in Hellenistic verse, with occurrences in Aristonous (2.17 Powell)Aristonous 2.17 Powell, Posidippus (fr. 118.4 Austin–Bastianini)Posidipp. fr. 118.4 Austin–Bastianini, and Antipater of Sidon (AP 6.46.4, cf. B.5). The only two later attestations are found in inscriptions of the imperial age: see C.5 as well as SEG 31.1249.1SEG 31.1249.1 (dedication of an altar from Antioch in Pisidia, imperial period).

In Post-classical Greek, starting with an attestation in the early 3rd-century BCE epigrammatist Simmias of Rhodes (C.3), the sacrificial sense of θυμέλη disappears, and the noun is employed only to denote a part of the theatre (in Simmias, the ὀρχήστρα). Modern scholars have assumed that this semantic shift results from the fact that an altar of Dionysus was present on the stage of the Athenian theatre (this idea is already ancient, as shown by Su. σ 569Su. σ 569, EM 743.35–9EM 743.35–9, and other late sources). Gow (1912) discusses the modern theories concerning the θυμέλη as a theatrical or architectural word, which shall not concern us here (on the altar of Dionysus, see especially Gow 1912, 237–8; cf. Pickard-Cambridge 1946, 9). The important point to note is that vastly different modern interpretations of this word in ancient texts are a direct consequence of its shifting semantics in Greek literature and the ‘confused and conflicting’ (Gow 1912, 233) theories even of ancient scholars about the word.

One can get an idea of the semantic indeterminacy of θυμέλη by considering its first occurrences in Greek prose. Like Simmias, Strabo (C.4) uses θυμέλη as a synonym of ὀρχήστρα. Plutarch, uses it generically for ‘theatre’ (as in Sull. 19.6, Demetr. 12.9, Praecepta gerendae reipublicae 822f.6; in Alex. 67.2 ‘dais’), or more specifically to refer to the ὀρχήστρα (e.g. Quaestiones convivales 621b.11: σκηνὴν καὶ θυμέλην), but also to the σκηνή, meant generally as ‘stage’ (e.g. Quaestiones convivales 711b.7: ἐπὶ τὴν θυμέλην καὶ τὴν ὀρχήστραν; on this general meaning of σκηνή, see Pickard-Cambridge 1946, 72–3). After Plutarch, θυμέλη occurs again twice in Lucian (Salt. 76.15, Trag. 131) and in Alciphron (Ep. 4.18.16 [= Posidonius fr. 370.17], specifically for theatrical performances), in all cases to denote a theatrical context. It is never used by other Atticising authors of the Second Sophistic. In later authors too it is invariably connected to the theatre: we find new forms such as θυμελικός ‘theatrical’θυμελικός, an adjective generally found either in reference to ἀγῶνες involving musical and theatrical performances or describing the guild of Dionysiac technitae (the first secure occurrence of this adjective is in IG 7.2712.75IG 7.2712.75, [Acraephia post-AD 37], where it qualifies an omitted ἀγών; in literary texts, it is found in fr. 1031 PMGFr. adesp. 1031 PMG, an undatable adespoton quoted by Hephaestion). Epigraphic sources confirm that θυμελικός may be used as a synonym of μουσικός or σκηνικός (though it is paired with σκηνικός in MAMA 8.492b.16–7MAMA 8.492b.16–7 [Aphrodisias, imperial period] ἔν τε τοῖς θυμελικοῖς καὶ σκηνικοῖς ἀγῶσιν: I thank a referee for drawing my attention to these epigraphic occurrences).

The shifting semantics of θυμέλη in literary sources explains the structure of the entry in the Eclogue (A.1). Here, Phrynichus vents his criticism both against the post-classical semantic shift of the word and the terminological inaccuracy with which his contemporaries (οἱ νῦν) use it. He pedantically reminds his reader that actors stood on the platform called the λογεῖον, while musicians and dancers performed in the ὀρχήστρα. Phrynichus seemingly avoids the problem of the exact identification of the theatrical θυμέλη by using the long circumlocution ‘the part of the theatre ἐφ’ οὗ αὐληταὶ καὶ κιθαρῳδοὶ καὶ ἄλλοι τινὲς ἀγωνίζονται’ (cf. the same explanation in Thomas Magister, B.7). Gow (1912, 234) takes this as a straightforward reference to the ὀρχήστρα, which, of course, could be implied by the presence of musicians. I, however, prefer to think that Phrynichus is being purposefully vague here. The ἄλλοι τινές who ἀγωνίζονται may refer to actors as well, and it is telling that in his rendering of Phrynichus’ rule Thomas Magister (B.7) felt the need to overcome this indeterminacy by adding the object μουσικήν. That Phrynichus in the Eclogue did not have a definite idea of the theatrical θυμέλη may also be shown by the fact that in the PS (A.2) he identifies it with the σκηνή, something which would go against his understanding of it as the ὀρχήστρα (if Gow’s view is correct, as cited above). Perhaps his confusion is related to contemporary usage, in which the adjectives θυμελικός and σκηνικός are sometimes synonyms but sometimes used as doublets (see the Aphrodisias inscription quoted above).

Pollux (A.3) is no more helpful for the determination of the meaning of θυμέλη, though unlike the elitist Phrynichus, he does not proscribe its use in reference to the theatre. Pollux firmly places the θυμέλη within the ὀρχήστρα, implicitly acknowledging it as a theatrical term. Yet at the same time, he leaves it open whether the θυμέλη is a βῆμα, i.e. a platform of sorts (and hence, one may infer, a place where players stood, an interpretation that fits Phrynichus’ λογεῖον, though that is not usually considered to be within the ὀρχήστρα), or an altar (βωμός). The connection of θυμέλη with an altar is the prevalent interpretation in later learned sources (see B.2, B.3, B.5, as well as Et.Gud. 266.43–4Et.Gud. 266.43–4). The entry in Orion (B.1) explicitly identifies the θυμέλη with a sacrificial altar, presumably in the theatre and, before that, in a table/platform on which early performers stood before tragedy developed.

There are, however, some alternative explanations. Hesychius (B.3) also offers ‘sacred ground’ (ἔδαφος ἱερόν), perhaps based on a loose reading of a tragic passage, e.g. Eur. Ion 46 or 228 (the same interpretation is given in some manuscripts of Cyril’s lexicon). The Lexeis rhetorikai (B.4) offer the only case outside Phrynichus of glossing the term with σκηνή. A second entry in the Suda (B.6) instead identifies θυμέλη with ἡ αὐλητική, i.e. the part of the stage reserved for aulos-playing. Finally, Thomas Magister (B.7), after following Phrynichus in interpreting θυμέλη as ‘sacrifice’ and proscribing its theatrical use, mentions the unique theory that θυμέλη was also a kind of music. Τhis could be based on literary passages where θυμέλη is associated with singing (see e.g. Plu. Galb. 14.2Plu. Galb. 14.2: ἢ ποίαν αἰδουμένους θυμέλην ἢ τραγῳδίαν τοῦ αὐτοκράτορος ‘and feeling shame at what song or tragedy of the emperor […]’, Eust. Exegesis in canonem iambicum Pentecostale 1.219Eust. Exegesis in canonem iambicum Pentecostale 1.219 ἡ σεμνὴ θυμέλη ‘holy song / sung liturgy’). Alternatively, it could depend on a misunderstanding of an earlier source, the lemma in the Suda (B.6), for example, in which ἡ αὐλητική could be taken to mean ‘aulos-playing’ tout court. This less common meaning of θυμέλη as ‘music’, is not registered in LSJ, LBG and GE.

All the above sources show how Greek scholars paid attention to the classical (and later extinct) meanings of a word, θυμέλη, that in their times was commonly used to refer to the theatre. In this context, the two interpretations offered by Phrynichus in the Eclogue (A.1) and the PS (A.2) stand out. Except for his later follower Thomas Magister, Phrynichus (A.1) is alone in glossing θυμέλη with θυσίαθυσία, a meaning that θυμέλη has only in Porphyry (C.6) and that, again, goes unnoticed in LSJ. This interpretation finds a loose parallel in the similarly unique information that Phrynichus provides in the PS (A.2), where he says that Pherecrates used θυμέλη instead of θυλήματαθύλημα. The PS also adds that these were sacrificial cakes made with barley groats mixed with wine and oil, but θυλήματα can generally identify all sorts of small, bloodless offerings (see schol. [vet. Tr.] Ar. Pac. 1040, with reference to Telecl. fr. 35, and Σ θ 124 = Phot. θ 254 = Su. θ 544). Hesychius (B.2) is the only other source which gives a similar explanation of θυμέλη as ‘barley cakes offered in sacrifice’, though after the initial glossing with ‘altar’: the second interpretamentum likely depends on the same Pherecratean line to which the PS (A.2) also refers.

There is no information on Pherecrates’ use of θυμέλη in place of θυλήματα. Outside lexica, the latter is attested only in Attic comedy (Pherecr. fr. 28.6, Telecl. fr. 35, Ar. Pax 1040, Pl.Com. fr. 188.18, Men. Dysc. 440) and in Theophrastus (fr. 97, De pietate frr. 2 and 18). Perhaps Phrynichus (or his epitomator) is mixing things up here? One possibility is that the equation of θυμέλη with θυλήματα was induced by Pherecrates fr. 28Pherecr. fr. 28, a fragment quoted by Clement of Alexandria (7.30.3) and replete with textual problems (the dative θυλήμασι is Ruhnken’s correction for the reading οὐ λήμασι of the manuscript). Here Pherecrates portrays a character, probably a god, who complains about a sacrifice, of which he provides a brief outline: θυλήμασι occurs at the end of a list of different offerings. Could it be that this usage in fr. 28 somehow brought about the mistaken notion that Pherecrates also used θυμέλη to refer to offerings?

Another possibility is that the confusion of θυμέλη and θύλημα is not Phrynichus’ doing, but rather arose in the later transmission of the PS. It should be noted that both words are often misspelled in Greek learned sources (including the PS entry: see the apparatus of A.2) and θύλημα, which dies out in Greek after Attic comedy, was a puzzling word for later speakers. Both facts could have contributed to its confusion with θυμέλη. Concerning the PS entry specifically, it is noteworthy that the Synagoge, Photius and the Suda – which draw extensively from the PS – show no trace of this equation of θυμέλη with θύλημα. This fact leaves the text of the PS lemma as transmitted in cod. Par. Coisl. 345 as unique, possibly reflecting a stage of the text different from the one known to the Synagoge tradition. Perhaps the extant entry of the PS conflates two different entries (one on θυμέλη, the other on θυλήματα) or compresses in a confusing way an original entry which was devoted to both words. As a concluding remark, let us also focus on the fact that in Hsch. θ 872 (B.8) θυλήματα is defined as ‘the barley-cakes offered in sacrifice’ (εἰς θυσίαν). Taken together, the entries in Hesychius, the Eclogue and the PS are encouraging evidence that there might have existed a wider exegetical context wherein θυμέλη, θύλημα and θυσία were discussed together. Perhaps the fragmentation of this earlier and more complete treatment caused some of the more incongruous interpretations we encounter in Greek lexicography, including the entry in the PS.

E. Byzantine and Modern Greek commentary

In Byzantine texts θυμέλη means ‘theatre’, sometimes with a more specific reference to the ὀρχήστρα, dance and singing performances. The noun is not registered in Kriaras, LME and survives in dictionaries of Modern Greek only as a technical term connected to ancient theatre.

F. Commentary on individual texts and occurrences

Ν/A

Bibliography

Friis Johansen, H.; Whittle, E. W. (1980). Aeschylus. The Suppliants. 3 vols. Copenhagen.

Frisk, H. (1943). ‘Zur griechische Wortkunde’. Eranos 41, 47–64. (Reprinted in Frisk, H., Kleine Schriften zur Indogermanistik und zur griechischen Wortkunde. Goteborg, 335–52).

Gow, A. S. F. (1912). ‘On the Meaning of the Word ΘΥΜΕΛΗ’. JHS 32, 213–38.

Pickard-Cambridge, A. W. (1946). The Theatre of Dionysus in Athens. Oxford.

Robert, C. (1897). ‘Zur Theaterfrage’. Hermes 32, 421–53.

CITE THIS

Olga Tribulato, 'θυμέλη (Phryn. Ecl. 135, Phryn. PS 74.9–11, Poll. 4.123)', in Olga Tribulato (ed.), Digital Encyclopedia of Atticism. With the assistance of E. N. Merisio.
DOI: https://doi.org/10.30687/DEA/2021/01/023

ABSTRACT
This article deals with the word θυμέλη, discussed in the Atticist lexica Phryn. Ecl. 135, Phryn. PS 74.9–11, and Poll. 4.123.
KEYWORDS

SacrificeTheatreθύλημαθυμελικόςθυσίαὀρχήστρασκηνή

FIRST PUBLISHED ON

01/10/2022

LAST UPDATE

05/01/2024