Makes use of of (ἐν)σκευάζω at Ach. 121, 383–4, 436, 739; Thesm. 591; Frogs 523; Plato, Crito 53d. Plato Comicus wrote a play known as Σκευαί, however the surviving fragments usually are not illuminating, other than might be for fr. 142, within which the speaker mentions a girl (presumably Electra) whom Euripides portrayed with a water jar. 36 the area of epic could appear a long way faraway from that of comedy, till we contemplate that prior to Aristophanes, fifth-century comedy was once intensely engaged with epic (not tragic) parody; see Revermann 2013 on “paraepic” ideas during the diversity of previous and heart Comedy. 37 Choral disrobing happens at Ach. 626–7, Wasps 408, Peace 729–31, Lys. 637, 662, 686, and Thesm. 655–6. the difficulty is summarized at Sifakis 1971: 105–6. 38 Disrobing for athletic pageant is an motion so more often than not played by means of fifth-century men that one may perhaps look forward to finding extra proof of it in Aristophanes. this type of dynamic will be resembling the stripping for actual job performed through the refrain. there's a few facts that it did certainly happen in not less than one misplaced play. the 2 stage-nude opponents within the New York and Boston Goose Play vases (New York, Metropolitan Museum of artwork 24. ninety seven. 104, Figure 6; Boston, Museum of excellent Arts, sixty nine. 951, Figure 7) could have simply stripped for his or her festival. specifically, the cloak draped on a herm within the Boston Goose Play vase and at the platform within the New York vase turns out to point a contemporary disrobing. See Chapter 2 for extra on those vases. whatever can be taking place with a cloak on PhV2 107 (Apulian red-figure oinochoe, c. 350, Bari, Ricchioni coll. ), which depicts stage-nude characters, the only at the correct leaning ahead and keeping a cloak, the single at the left gesticulating with one foot ahead. even if the meant recipient of the cloak is moving into it or clear of it isn't clear to me. 39 In either Iliad 14 and the Homeric Hymn to Aphrodite, the ladies upload layers of finery as they organize for the seduction, yet they don't take off their very own outfits. The Iliad passage makes no point out of the undressing of Hera, whereas within the Hymn to Aphrodite, it truly is Anchises who gets rid of Aphrodite’s clothing piece by way of piece, an motion that conveys Aphrodite’s uncharacteristic submissiveness. within the “Cologne epode” of Archilochus (P. Colon. 7511), it's the younger guy back who handles the clothes, masking the woman with a chlaina (with West’s supplementations in traces 29–30); there's no point out of undressing, although a few epidermis is uncovered (line 33). See Taaffe 1993: 67–8 on H. Aphr. and Lys. forty Il. 22. 124–5: κτενέει δέ με γυμνὸν ἐόντα / αὔτως ὥς τε γυναῖκα, ἐπεὶ κ᾿ ἀπὸ τεύχεα δύω. 41 Griffith 1988 notes that during the Oresteia, all the murdered characters other than Aegisthus eliminate a section of garments prior to they input the skene to die. forty two ἡττήμεθ᾿. ὦ κινούμενοι, / πρὸς τῶν θεῶν δέξασθέ μου / θοἰμάτιον, ὡς / ἐξαυτομολῶ πρὸς ὑμᾶς. Cf. ἥττων spoken by way of the defrocked informer at Wealth 944. forty three Il. 2. 259–64:  μηκέτ᾿ ἔπειτ᾿ Ὀδυσῆϊ κάρη ὤμοισιν ἐπείη, / μηδ᾿ ἔτι Τηλεμάχοιο πατὴρ κεκλημένος εἴην,/ εἰ μὴ ἐγώ σε λαβὼν ἀπὸ μὲν φίλα εἵματα δύσω,/ χλαῖνάν τ᾿ ἠδὲ χιτῶνα, τά τ᾿ αἰδῶ ἀμφικαλύπτει, /αὐτὸν δὲ κλαίοντα θοὰς ἐπὶ νήας ἀφήσω / πεπλήγων ἀγορῆθεν ἀεικέσσι πληγῇσιν.