Footnotes
Goldhill, ‘Great Dionysia’ (see n. 2 above) 128. See also
C. Sourvinou‐Inwood, ‘Something to do with Athens: tragedy and ritual’, in Ritual, finance, politics. Athenian democratic accounts presented to David Lewis ed. R. Osborne and S. Hornblower (Oxford 1994) 269–90.See further A. Pickard‐Cambridge, The dramatic festivals of Athens. 2nd edn (Oxford 1968) 40; P. Wilson, The Athenian institution of the khoregia (Cambridge 2000) 28.
Wilson, Khoregia (see n. 4 above) 28. Cf. Pickard‐Cambridge, Festivals (see n. 4 above) 26, 41; Goldhill, ‘Great Dionysia’ (see n. 2 above) 102.
Pickard‐Cambridge, Festivals (see n. 4 above) 25–42.
Pickard‐Cambridge, Festivals (see n. 4 above) 42–56.
Plut. Nic. 29. 3–5. On the diffusion of interest in tragedy in the Greek West see Taplin, Comic angels (see n. 8 above) 21–29, esp. 27: ‘The vases confirm that Athenian tragedy was part of life in fourth‐century Megale Hellas’. On a non‐Athenian market for comic plays see Taplin, Comic angels (see n. 8 above) 30–47; N. W. Slater, ‘The fabrication of comic illusion’, in G. W. Dobrov, Beyond Aristophanes. Transition and diversity in Greek comedy (Atlanta GA 1995) 32–34.
Pl. Rep. 475d 
. Trans. P. Shorey.
Pickard‐Cambridge, Festivals (see n. 4 above) 52. See Dem. de Cor. 262, cf. ibid. 267, 180.
Pickard‐Cambridge, Festivals (see n. 4 above) 52.
Cf. Slater, ‘Comic illusion’ (see n. 9 above) 31: ‘Evidence for deme theatres in Attica in the late fifth century may not be conclusive proof for touring productions of comedies and tragedies staged earlier in Athens, though we do know that tragedies were restaged in the theatre in the Peiraeus. The real explosion of demand for theatre comes in the fourth century.’
Frogs 52; cf. Pickard‐Cambridge, Festivals (see n. 4 above) 276.
Arist. Poet. 1450b 17–19, trans. S. H. Butcher, slightly changed.
M. Finkelberg, The birth of literary fiction in ancient Greece (Oxford 1998) 25–27, 172–77. A. Ford, The origins of criticism. Literary culture and poetic theory in classical Greece (Princeton 2002) 231, locates this development in the first half of the fourth century.
Gorgias 82B23 DK.
90. 3. 10 DK 
. Cf. 2. 28; 3 17.
See further Finkelberg, Birth of fiction (see n. 16 above) 181–91. Cf. Ford, Origins of criticism (see n. 16 above) 229–31.
Hdt. 6.21, trans. G. Rawlinson, with minor changes.
Rep. 605d, trans. P. Shorey. Cf. J. Herington, Poetry into drama. Early tragedy and the Greek poetic tradition (Berkeley CA 1985) 10–14.
Gorg. 82b 11.9 DK, trans. O. Taplin.
O. Taplin, Greek tragedy in action (London 1985) 168. Taplin's italics.
Rep. 606a–b.
A fragment from the Women at the Dionysia by the Middle Comedy poet Timocles (6 K.‐A., 8–19), in which a character discusses how watching the mythological plots of tragedy brings comfort and consolation for the spectators in their personal griefs, also points in this direction. For the discussion see Slater, ‘Comic illusion’ (see n. 9 above) 34–35.
P. Bourdieu, The field of cultural production. Essays on art and literature (New York 1993) 35.
Plut. Mor. 15c‐d, trans. F. C. Babbit. Cf. Mor. 348c. A brilliant illustration to the same effect can be found in Partridge's reactions to a London performance of Hamlet in Book 16 of Tom Jones (Chapter 5); in Fielding's own words, the naïve criticisms of Partridge are ‘the simple dictates of nature, unimproved indeed, but likewise unadulterated, by art’. The episode featuring a performance of the Bluebeard tale before a Maori audience in Jane Campion's film The Piano, set in nineteenth‐century New Zealand, offers a modern parallel.
Herington, Poetry into drama (see n. 22 above) 96.
Cf.
commenting on tragic apate: ‘The precondition of the function of theatre is an agreement between poet and audience on the process of communication. The poet must have the ability to exert “deception” on the public; but the public must be willing to be “deceived”, that is to become involved in the illusion the poet produces.’ On the development of illusion in comedy see Slater, ‘Comic illusion’ (see n. 9 above) 29–45.Symp. 194b–c, trans. M. Joyce.
J. Annas, ‘Plato on the triviality of literature’, in Plato on beauty, wisdom, and the arts, ed. J. Moravcsik and P. Temko (Totowa NJ 1982) 18.
Leg. 658e; Philb. 51c. Cf. Finkelberg, Birth of fiction (see n. 16 above) 198–200.
Arist. Poet. 1453a 30–36. Cf. S. Halliwell. Aristotle's Poetics (London 1986) 169–70.
Pol. 1341b14–19, trans. E. Barker. Cf. Pol. 1342a17–27; Rhet. 1404a.
Pol. 1281b8–10 
E. Barker, The Politics of Aristotle (Oxford 1946) 128.
