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He had lost the sense of what the Chorus was in the hands of the great masters, say in the Bacchae or the Eumenides. He mistakes, again, the use of that epiphany of a God which is frequent at the end of the single plays of Euripides, and which seems to have been equally so at the end of the trilogies of Aeschylus. Having lost the living tradition, he sees neither the ritual origin nor the dramatic value of these divine epiphanies. He thinks of the convenient gods and abstractions who sometimes spoke the prologues of the New Comedy, and imagines that the God appears in order to unravel the plot. As a matter of fact, in one play which he often quotes, the _Iphigenia Taurica_, the plot is actually distorted at the very end in order to give an opportunity for the epiphany.
亚里士多德还忘了合唱队是由那掌握命运者来控制，比如酒神的女祭司或者复仇女神欧墨尼得斯；他弄错了神的显现的用处，欧里庇德斯的单幕悲剧结尾处常有神显现，埃斯库罗斯三部曲的结尾好像与此相似，由于失去了活生生的传统，亚里士多德没有意识到神灵显现的仪式渊源和戏剧价值，而把神认为是有时去朗诵新喜剧开场白的这样一种方便和抽象，想象神的出现是为了解开情节的死结，而事实上，在他经常引用的《在奥利斯的伊菲革涅亚》里，情节实际上在结尾处被搅乱，目的是为了给神一个显现的机会。
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His translations of Euripides' Trojan Women and Aeschylus' Oresteia were performed at Epidaurus, in 1979 and 1980 respectively, by the Theatro Technis under the direction of Karolos Koun.
他翻译的欧里庇得斯的《特洛伊女人》和埃斯库罗斯的《奥瑞斯提亚三部曲》分别于1979年和1980年在埃皮道夫罗斯古剧场上演，由卡罗洛斯·贡执导。
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aeolic：伊欧里斯的,伊欧里斯人的 伊欧里斯语
aeolianly | 飒飒地, 悦耳地 | Aeolic | 伊欧里斯的,伊欧里斯人的 伊欧里斯语 | aeolid | 蓑海牛
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aeolic：伊欧里斯人的
Aeneid 伊尼伊德 | Aeolic 伊欧里斯人的 | Aeolic 伊欧里斯语
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aeolic：伊欧里斯语
Aeolic 伊欧里斯人的 | Aeolic 伊欧里斯语 | Aeolus 风神
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Pella：培拉
公元前410年,阿刻劳斯把都城从埃迦伊(Aegae)搬迁到了培拉(Pella)城,并邀请雅典悲剧作家欧里庇得斯和阿伽松(Agathon)到这个新建的都城参观,此外来到培拉的还有著名画家宙克西斯(Zeuxis ).