been made popular by Sophocles, it is still easier to understand why a play should be mentioned alone, if it had been the bright particular star of its own constellation, and if its brilliancy had been recognised by popular report as the primary cause of the poet's triumph.
This, then, I think, is the probable basis of fact on which the statement of Suidas rests:—when groups of unconnected plays competed, the difficulty of comparing the groups, as such, often led to the prize being decided by a comparison of the single plays; and as Sophocles was peculiarly associated in tradition with the trilogy of unconnected tragedies, so he was also associated with its practical result, viz., a method of award under which the single play became the usual gauge of merit. When, however, we have assigned our reasons for believing that this was the basis of fact underlying the statement of Suidas, another and entirely distinct question remains:—Is this the meaning which Suidas intended his statement to convey? Undoubtedly his words perfectly fit that meaning. As we saw at the outset, δρᾶμα and τετραλογίαν are the subjects to ἀγωνίζεσθαι. Play contends with play, not group with group, when the judges compare single plays and not whole groups. If the verb had been διδάσκεσθαι instead of ἀγωνίζεσθαι, the plain sense would have been that the poet exhibited his plays singly. Some weight must therefore be allowed to the fact that the verb actually used, ἀγωνίζεσθαι, is just the verb which suits the other sense. But we
