If you look up οκος in Liddell and Scott, you find the instances classified in three main divisions: first those meaning a house, or sometimes other kinds of building; secondly ‘one's household goods, substance’, for which I shall generally say ‘property’, though Liddell and Scott do not actually use that word; and thirdly ‘family’. This threefold distinction is sound, and I shall adhere to it here. Admittedly one sometimes finds an instance where it is not easy to decide which sense (...) the word has. Two of the senses, occasionally even all three, may overlap. But in the great majority of instances it is clear which sense is meant. (shrink)

The number of speaking actors in Old Comedy has been much discussed, but no consensus has been reached. The old assumption that the number was three, as in tragedy, was shaken when it was realized that some scenes of Aristophanes have four characters on-stage at once, all taking part in the dialogue: for example, in Lys. 77–253 we have Lysistrate, Kalonike, Myrrhine, and Lampito, and in Frogs 1414–81 we have Dionysos, Aiskhylos, Euripides, and Plouton. Rees therefore argued that there was (...) no fixed number, but that view was not generally accepted. A more widely held view is that there were three principal actors with additional performers for small parts. However, there is no evidence contemporary with Aristophanes which distinguishes three actors from the others in this way, and it is probable that writers of later periods who mention three actors are referring to their own times and did not have authentic information about the fifth century. The passage which DFA, p. 149, seems to regard as the most trustworthy is in a brief account of comedy attributed to Tzetzes: πιγενμενος δ Κρατνος κατστησε μν πρτον τ ν τ κωμδ πρσωπα μεχρ τριν, στσας τν ταξαν4 DFA paraphrases this as ‘Cratinus reduced the disorderliness and, in some sense, fixed the number of regular actors at three’. But πρσωπα means ‘masks’ or ‘characters’; it does not mean ‘actors’ . What the writer meant by saying that Kratinos settled the masks or characters in comedy at ‘up to three’ is not clear, but his statement is useless as evidence for the number of actors. (shrink)

Marriage is a subject of perennial interest, and we should like to be able to assess the exact degree of importance which the Greeks attached to this institution. One of the chief questions is how the formality of marriage, or the lack of it, affected the children of a union; above all, was illegitimate birth a bar to citizenship even in democratic Athens? Unfortunately there is still no general agreement about the answer to this question.

In 346 BC. the Athenians negotiated a peace treaty with King Philip II of Macedon, but afterwards one of the Athenian ambassadors, Demosthenes, accused another, Aiskhines, of accepting a bribe from Philip to contrive that the terms of the treaty should be favourable to him. The case came to trial three years later, and On the False Embassy is the speech which Demosthenes prepared for the prosecution. It is one of the most famous pieces of ancient oratory, and it is (...) also one of the principal sources of information about the politics of its period. This volume is on the same lines as Professor MacDowell's previous edition of Demosthenes' speech Against Meidias. It includes an introduction concentrating especially on the historical circumstances, a revised Greek text based on fresh study of the manuscripts, an English translation on pages facing the text, and the first detailed commentary on the speech for over a hundred years. (shrink)