Yunan dramasının zaman çizelgesi

   Timeline of Greek Drama
Although the origins of Greek Tragedy and Comedy are obscure and controversial, our ancient sources allow us to construct a rough chronology of some of the steps in their development. Some of the names and events on the timeline are linked to passages in the next section on the Origins of Greek Drama which provide additional context.
(Works in bold are on the Hum 110 syllabus)
7th Century BC
c.625         Arion at Corinth produces named dithyrambic choruses.
6th Century BC
  600-570      Cleisthenes, tyrant of Sicyon, transfers "tragic choruses" to Dionysus
  540-527      Pisistratus, tyrant of Athens, founds the festival of the Greater Dionysia
  536-533      Thespis puts on tragedy at festival of the Greater Dionysia in Athens
  525         Aeschylus born
  511-508      Phrynichus' first victory in tragedy
c.500         Pratinus of Phlius introduces the satyr play to Athens
5th Century BC
  499-496      Aeschylus' first dramatic competition
c. 496         Sophocles born
  492         Phrynicus' Capture of Miletus (Miletus was captured by the Persians in 494)
  485         Euripides born
  484         Aeschylus' first dramatic victory
  472         Aeschylus' Persians
  467         Aeschylus' Seven Against Thebes
  468         Aeschylus defeated by Sophocles in dramatic competition
  463?        Aeschylus' Suppliant Women
  458         Aeschylus' Oresteia (Agamemnon, Libation Bearers, Eumenides)   
  456         Aeschylus dies
c.450         Aristophanes born
  447         Parthenon begun in Athens
c.445         Sophocles' Ajax
  441         Sophocles' Antigone
  438         Euripides' Alcestis
  431-404  Peloponnesian War (Athens and allies vs. Sparta and allies)
  431         Euripides' Medea
c.429         Sophocles' Oedipus the King
  428         Euripides' Hippolytus
  423         Aristophanes' Clouds
  415         Euripides' Trojan Women
  406         Euripides dies; Sophocles dies
  405         Euripides' Bacchae
  404         Athens loses Peloponnesian War to Sparta
  401         Sophocles' Oedipus at Colonus
4th Century BC
   399          Trial and death of Socrates
c.380's        Plato's Republic includes critique of Greek tragedy and comedy
c.330's        Aristotle's Poetics includes defense of Greek tragedy and comedy

2. Origins of Greek Drama 
Ancient Greeks from the 5th century BC onwards were fascinated by the question of the origins of tragedy and comedy. They were unsure of their exact origins, but Aristotle and a number of other writers proposed theories of how tragedy and comedy developed, and told stories about the people thought to be responsible for their development. Here are some excerpts from Aristotle and other authors which show what the ancient Greeks thought about the origins of tragedy and comedy.
Aristotle on the origins of Tragedy and Comedy

1. Indeed, some say that dramas are so called, because their authors represent the characters as "doing" them (drôntes). And it is on this basis that the Dorians [= the Spartans, etc.] lay claim to the invention of both tragedy and comedy. For comedy is claimed by the Megarians here in Greece, who say it began among them at the time when they became a democracy [c. 580 BC], and by the Megarians of Sicily on the grounds that the poet Epicharmas came from there and was much earlier than Chionides and Magnes; while tragedy is claimed by certain Dorians of the Peloponnese. They offer the words as evidence, noting that outlying villages, called dêmoi by the Athenians, are called kômai by them, and alleging that kômôdoi (comedians) acquired their name, not from kômazein (to revel), but from the fact that, being expelled in disgrace from the city, they wandered from village to village. The Dorians further point out that their word for "to do" is drân, whereas the Athenians use prattein. (Aristotle: Poetics Chapter 3) 
2. And in accordance with their individual types of character, poetry split into two kinds, for the graver spirits tended to imitate noble actions and noble persons performing them, and the more frivolous poets the doings of baser persons, and as the more serious poets began by composing hymns and encomia, so these began with lampoons....Thus among the early poets, some became poets of heroic verse and others again of iambic verse. Homer was not only the master poet of the serious vein, unique in the general excellence of his imitations and especially in the dramatic quality he imparts to them, but was also the first to give a glimpse of the idea of comedy [in the Margites]...And once tragedy and comedy had made their appearance, those who were drawn to one or the other of the branches of poetry, true to their natural bias, became either comic poets instead of iambic poets, or tragic poets instead of epic poets because the new types were more important-- i.e. got more favorable attention, than the earlier ones. Whether tragedy has, then, fully realized its possible forms or has not yet done so is a question the answer to which both in the abstract and in relation to the audience [or the theater] may be left for another discussion. Its beginnings, certainly, were in improvisation [autoschediastikês], as were also those for comedy, tragedy originating in impromptus by the leaders of dithyrambic choruses, and comedy in those of the leaders of the phallic performances which still remain customary in many cities. Little by little tragedy grew greater as the poets developed whatever they perceived of its emergent form, and after passing through many changes, it came to a stop, being now in possession of its specific nature [tên hautês phusin]. It was Aeschylus who first increased the number of the actors from one to two and reduced the role of the chorus, giving first place to the dialogue. Sophocles [added] the third actor and [introduced] painted scenery. Again, [there was a change] in magnitude; from little plots and ludicrous language (since the change was from the satyr play), tragedy came only late in its development to assume an air of dignity, and its meter changes from the trochaic tetrameter to the iambic trimeter. Indeed, the reason why they used the tetrameter at first was that their form of poetry was satyric [i.e. for "satyrs"] and hence more oriented toward dancing; but as the spoken parts developed, natural instinct discovered the appropriate meter, since of all metrical forms the iambic trimeter is best adapted for speaking. (This is evident, since in talking with one another we very often utter iambic trimeters, but seldom dactylic hexameters, or if we do we depart from the tonality of normal speech. Again, [there was a change] in the number of episodes -- but as for this and the way in which reportedly each of the other improvements came about, let us take it all as said, since to go through the several details would no doubt be a considerable task. (Aristotle: Poetics Chapter 4)

Stories about the poet Arion

3. Periander was tyrant of Corinth. The Corinthians say (and the Lesbians agree) that the greatest wonder in his life was the voyage of Arion of Methymna to Taenarum on a dolphin. He was a kitharode second to none at that time and the first of men whom we know to have composed the dithyramb and named it and produced it in Corinth. (Herodotus I.23)
4. Arion, of Methymna...is said also to have invented the tragic mode (tragikoû tropou) and first composed a stationary chorus and sung a dithyramb and named what the chorus sang and introduced satyrs speaking verses. (The Suda lexicon) 
5. Pindar says the dithyramb was discovered in Corinth. The inventor of the song Aristotle calls Arion. He first led the circular chorus. (Proculus, Chrest. xii) 
6. The first performance of tragedy was introduced by Arion of Methymna, as Solon said in his Elegies. Charon of Lampsacus says that drama was first produced at Athens by Thespis. (John the Deacon, Commentary on Hermogenes)
 Stories about Cleisthenes, Sicyon, and Hero-drama 
7. I must not omit to explain that [the tyrant] Cleisthenes picked on Melanippus as the person to introduce into Sicyon, because he was a bitter enemy of Adrastus, having killed both Mecistes, his brother, and Tydeus his son-in-law. After settling him in his new shrine, he transferred to him the religious honors of sacrifice and festival which had previously been paid to Adrastus. The people of Sicyon had always regarded Adrastus with great reverence, because the country had once belonged to Polybus, his maternal grandfather, who died without an heir and bequeathed the kingdom to him. One of the most important of the tributes paid him was the tragic chorus, or ceremonial dance and song, which the Sicyonians celebrated in his honor; normally, the tragic chorus belongs to the worship of Dionysus; but in Sicyon it was not so -- it was performed in honor of Adrastus, treating his life-story and sufferings. Cleisthenes, however, changed this: he transferred the choruses to Dionysus, and the rest of the ceremonial to Melanippus. (Herodotus V.67)

Stories trying to explain why, if tragedy originated from Dithyrambs sung in honor of Dionysus, not all tragedies were about Dionysus ("Nothing to do with Dionysus": (ouden pros ton Dionuson)

8. When Phrynichus and Aeschylus developed tragedy to include mythological plots and disasters, it was said, "What has this to do with Dionysus?" (Plutarch, Symp. Quaest.) 
9. Nothing to do with Dionysus. When, the choruses being accustomed from the beginning to sing the dithyramb to Dionysus, later poets abandoned this custom and began to write "Ajaxes" and "Centaurs". Therefore the spectators said in joke, "Nothing to do with Dionysus." For this reason they decided later to introduce satyr-plays as a prelude, in order that they might not seem to be forgetting the god. (Zenobius V.40) 
10. Nothing to do with Dionysus. When Epigenes the Sicyonian made a tragedy in honor of Dionysus, they made this comment; hence the proverb. A better explanation: Originally when writing in honor of Dionysus they competed with pieces which were called satyric. Later they changed to the writing of tragedy and gradually turned to plots and stories in which they had no thought for Dionysus. Hence this comment. Chamaeleon writes similarly in his book on Thespis. (The Suda lexicon)

Stories about Thespis the Athenian playwright

11. From when Thespis the poet first acted, who produced a play in the city and the prize was a goat... (Marmor Parium, under the year about 534 BC).
 12. This is Thespis, who first moulded tragic song, inventing new joys for his villagers, when Bacchus led the wine-smeared (?) chorus, for which a goat was the prize (?) and a basket of Attic figs was a prize too. The young change all this. Length of time will discover many new things. But mine is mine. (Dioscorides, Anth. Pal. VII. 410) 
13. The unknown poetry of the tragic Muse Thespis is said to have discovered and to have carried poems on wagons, which they sang and acted, their faces smeared with wine-lees. (Horace, Ars Poetica 275-277) 
14. As of old tragedy formerly the chorus by itself performed the whole drama and later Thespis invented a single actor to give the chorus a rest and Aeschylus a second and Sophocles a third, thereby completing tragedy... (Diogenes Laertius III. 56) 
15. Thespis: Of the city of Ikarios in Attica, the sixteenth tragic poet after the first tragic poet, Epigenes of Sicyon, but according to some second after Epigenes. Others say he was the first tragic poet. In his first tragedies he anointed his face with white lead, then he shaded his face with purslane in his performance, and after that introduced the use of masks, making them in linen alone. He produced in the 61st Olympiad (536/5-533/2 BC). Mention is made of the following plays: Games of Pelias or Phorbas, Priests, Youths, Pentheus. (The Suda lexicon)

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	Timeline of Greek Drama Although the origins of Greek Tragedy and Comedy are obscure and controversial, our ancient sources allow us to construct a rough chronology of some of the steps in their development. Some of the names and events on the timeline are linked to passages in the next section on the Origins of Greek Drama which provide additional context. (Works in bold are on the Hum 110 syllabus) 7th Century BC c.625 Arion at Corinth produces named dithyrambic choruses. 6th Century BC 600-570 Cleisthenes, tyrant of Sicyon, transfers "tragic choruses" to Dionysus 540-527 Pisistratus, tyrant of Athens, founds the festival of the Greater Dionysia 536-533 Thespis puts on tragedy at festival of the Greater Dionysia in Athens 525 Aeschylus born 511-508 Phrynichus' first victory in tragedy c.500 Pratinus of Phlius introduces the satyr play to Athens 5th Century BC 499-496 Aeschylus' first dramatic competition c. 496 Sophocles born 492 Phrynicus' Capture of Miletus (Miletus was captured by the Persians in 494) 485 Euripides born 484 Aeschylus' first dramatic victory 472 Aeschylus' Persians 467 Aeschylus' Seven Against Thebes 468 Aeschylus defeated by Sophocles in dramatic competition 463? Aeschylus' Suppliant Women 458 Aeschylus' Oresteia (Agamemnon, Libation Bearers, Eumenides) 456 Aeschylus dies c.450 Aristophanes born 447 Parthenon begun in Athens c.445 Sophocles' Ajax 441 Sophocles' Antigone 438 Euripides' Alcestis 431-404 Peloponnesian War (Athens and allies vs. Sparta and allies) 431 Euripides' Medea c.429 Sophocles' Oedipus the King 428 Euripides' Hippolytus 423 Aristophanes' Clouds 415 Euripides' Trojan Women 406 Euripides dies; Sophocles dies 405 Euripides' Bacchae 404 Athens loses Peloponnesian War to Sparta 401 Sophocles' Oedipus at Colonus 4th Century BC 399 Trial and death of Socrates c.380's Plato's Republic includes critique of Greek tragedy and comedy c.330's Aristotle's Poetics includes defense of Greek tragedy and comedy 2. Origins of Greek Drama Ancient Greeks from the 5th century BC onwards were fascinated by the question of the origins of tragedy and comedy. They were unsure of their exact origins, but Aristotle and a number of other writers proposed theories of how tragedy and comedy developed, and told stories about the people thought to be responsible for their development. Here are some excerpts from Aristotle and other authors which show what the ancient Greeks thought about the origins of tragedy and comedy. Aristotle on the origins of Tragedy and Comedy 1. Indeed, some say that dramas are so called, because their authors represent the characters as "doing" them (drôntes). And it is on this basis that the Dorians [= the Spartans, etc.] lay claim to the invention of both tragedy and comedy. For comedy is claimed by the Megarians here in Greece, who say it began among them at the time when they became a democracy [c. 580 BC], and by the Megarians of Sicily on the grounds that the poet Epicharmas came from there and was much earlier than Chionides and Magnes; while tragedy is claimed by certain Dorians of the Peloponnese. They offer the words as evidence, noting that outlying villages, called dêmoi by the Athenians, are called kômai by them, and alleging that kômôdoi (comedians) acquired their name, not from kômazein (to revel), but from the fact that, being expelled in disgrace from the city, they wandered from village to village. The Dorians further point out that their word for "to do" is drân, whereas the Athenians use prattein. (Aristotle: Poetics Chapter 3) 2. And in accordance with their individual types of character, poetry split into two kinds, for the graver spirits tended to imitate noble actions and noble persons performing them, and the more frivolous poets the doings of baser persons, and as the more serious poets began by composing hymns and encomia, so these began with lampoons....Thus among the early poets, some became poets of heroic verse and others again of iambic verse. Homer was not only the master poet of the serious vein, unique in the general excellence of his imitations and especially in the dramatic quality he imparts to them, but was also the first to give a glimpse of the idea of comedy [in the Margites]...And once tragedy and comedy had made their appearance, those who were drawn to one or the other of the branches of poetry, true to their natural bias, became either comic poets instead of iambic poets, or tragic poets instead of epic poets because the new types were more important-- i.e. got more favorable attention, than the earlier ones. Whether tragedy has, then, fully realized its possible forms or has not yet done so is a question the answer to which both in the abstract and in relation to the audience [or the theater] may be left for another discussion. Its beginnings, certainly, were in improvisation [autoschediastikês], as were also those for comedy, tragedy originating in impromptus by the leaders of dithyrambic choruses, and comedy in those of the leaders of the phallic performances which still remain customary in many cities. Little by little tragedy grew greater as the poets developed whatever they perceived of its emergent form, and after passing through many changes, it came to a stop, being now in possession of its specific nature [tên hautês phusin]. It was Aeschylus who first increased the number of the actors from one to two and reduced the role of the chorus, giving first place to the dialogue. Sophocles [added] the third actor and [introduced] painted scenery. Again, [there was a change] in magnitude; from little plots and ludicrous language (since the change was from the satyr play), tragedy came only late in its development to assume an air of dignity, and its meter changes from the trochaic tetrameter to the iambic trimeter. Indeed, the reason why they used the tetrameter at first was that their form of poetry was satyric [i.e. for "satyrs"] and hence more oriented toward dancing; but as the spoken parts developed, natural instinct discovered the appropriate meter, since of all metrical forms the iambic trimeter is best adapted for speaking. (This is evident, since in talking with one another we very often utter iambic trimeters, but seldom dactylic hexameters, or if we do we depart from the tonality of normal speech. Again, [there was a change] in the number of episodes -- but as for this and the way in which reportedly each of the other improvements came about, let us take it all as said, since to go through the several details would no doubt be a considerable task. (Aristotle: Poetics Chapter 4) Stories about the poet Arion 3. Periander was tyrant of Corinth. The Corinthians say (and the Lesbians agree) that the greatest wonder in his life was the voyage of Arion of Methymna to Taenarum on a dolphin. He was a kitharode second to none at that time and the first of men whom we know to have composed the dithyramb and named it and produced it in Corinth. (Herodotus I.23) 4. Arion, of Methymna...is said also to have invented the tragic mode (tragikoû tropou) and first composed a stationary chorus and sung a dithyramb and named what the chorus sang and introduced satyrs speaking verses. (The Suda lexicon) 5. Pindar says the dithyramb was discovered in Corinth. The inventor of the song Aristotle calls Arion. He first led the circular chorus. (Proculus, Chrest. xii) 6. The first performance of tragedy was introduced by Arion of Methymna, as Solon said in his Elegies. Charon of Lampsacus says that drama was first produced at Athens by Thespis. (John the Deacon, Commentary on Hermogenes) Stories about Cleisthenes, Sicyon, and Hero-drama 7. I must not omit to explain that [the tyrant] Cleisthenes picked on Melanippus as the person to introduce into Sicyon, because he was a bitter enemy of Adrastus, having killed both Mecistes, his brother, and Tydeus his son-in-law. After settling him in his new shrine, he transferred to him the religious honors of sacrifice and festival which had previously been paid to Adrastus. The people of Sicyon had always regarded Adrastus with great reverence, because the country had once belonged to Polybus, his maternal grandfather, who died without an heir and bequeathed the kingdom to him. One of the most important of the tributes paid him was the tragic chorus, or ceremonial dance and song, which the Sicyonians celebrated in his honor; normally, the tragic chorus belongs to the worship of Dionysus; but in Sicyon it was not so -- it was performed in honor of Adrastus, treating his life-story and sufferings. Cleisthenes, however, changed this: he transferred the choruses to Dionysus, and the rest of the ceremonial to Melanippus. (Herodotus V.67) Stories trying to explain why, if tragedy originated from Dithyrambs sung in honor of Dionysus, not all tragedies were about Dionysus ("Nothing to do with Dionysus": (ouden pros ton Dionuson) 8. When Phrynichus and Aeschylus developed tragedy to include mythological plots and disasters, it was said, "What has this to do with Dionysus?" (Plutarch, Symp. Quaest.) 9. Nothing to do with Dionysus. When, the choruses being accustomed from the beginning to sing the dithyramb to Dionysus, later poets abandoned this custom and began to write "Ajaxes" and "Centaurs". Therefore the spectators said in joke, "Nothing to do with Dionysus." For this reason they decided later to introduce satyr-plays as a prelude, in order that they might not seem to be forgetting the god. (Zenobius V.40) 10. Nothing to do with Dionysus. When Epigenes the Sicyonian made a tragedy in honor of Dionysus, they made this comment; hence the proverb. A better explanation: Originally when writing in honor of Dionysus they competed with pieces which were called satyric. Later they changed to the writing of tragedy and gradually turned to plots and stories in which they had no thought for Dionysus. Hence this comment. Chamaeleon writes similarly in his book on Thespis. (The Suda lexicon) Stories about Thespis the Athenian playwright 11. From when Thespis the poet first acted, who produced a play in the city and the prize was a goat... (Marmor Parium, under the year about 534 BC). 12. This is Thespis, who first moulded tragic song, inventing new joys for his villagers, when Bacchus led the wine-smeared (?) chorus, for which a goat was the prize (?) and a basket of Attic figs was a prize too. The young change all this. Length of time will discover many new things. But mine is mine. (Dioscorides, Anth. Pal. VII. 410) 13. The unknown poetry of the tragic Muse Thespis is said to have discovered and to have carried poems on wagons, which they sang and acted, their faces smeared with wine-lees. (Horace, Ars Poetica 275-277) 14. As of old tragedy formerly the chorus by itself performed the whole drama and later Thespis invented a single actor to give the chorus a rest and Aeschylus a second and Sophocles a third, thereby completing tragedy... (Diogenes Laertius III. 56) 15. Thespis: Of the city of Ikarios in Attica, the sixteenth tragic poet after the first tragic poet, Epigenes of Sicyon, but according to some second after Epigenes. Others say he was the first tragic poet. In his first tragedies he anointed his face with white lead, then he shaded his face with purslane in his performance, and after that introduced the use of masks, making them in linen alone. He produced in the 61st Olympiad (536/5-533/2 BC). Mention is made of the following plays: Games of Pelias or Phorbas, Priests, Youths, Pentheus. (The Suda lexicon)