ters, he contrived to make the latter so drunk that | Asia. The first edition is a bad Latin transla- have added of Munich, which is the best)," it is a This Chronicon extends from 1259 till 1477, and is the most valuable authority for the history of the author's time, especially for the capture of Constantinople. Phranza has many of the defects of his time; his style is bombastic, and he indulges in digressions respecting matters not connected with the main subject of his work; but the importance of the events which he describes makes us forget the former, and one cannot blame him for his digressions, because, though treating on strange matter, they are still interesting. In all contemporary events, he is a trustworthy, well-informed, and impartial authority; and as the greater portion of his work treats on the history of his own time, the importance of his work becomes evident. The Chronicon is divided into four books. The first gives a short account of the first six emperors of the name of Palaeologus; the second contains the reign of John Palaeologus, the son of Manuel; the third capture of Constantinople, and the death of the last Constantine; and the fourth gives an account of the divisions of the imperial family, and the final downfal of Greek power in Europe and the . PHRAORTES (paópтns), was, according to Herodotus, the second king of Media, and the son of Deioces, whom he succeeded. He reigned twenty-two years (B. c. 656-634). He first conquered the Persians, and then subdued the greater part of Asia, but was at length defeated and killed while laying siege to Ninus (Nineveh), the capital of the Assyrian empire. He was succeeded by his son Cyaxares. (Herod. i. 73, 102.) This Phraortes is said to be the same as the Truteno of the Zendavesta, and to be called Feridun in the Shah-Nameh. (Hammer in Wien. Jahrb. vol. ix. p. 13, &c.) PHRASAORTES (Þраσαóρτns), son of Rheomithres, a Persian, who was appointed by Alexander the Great satrap of the province of Persia Proper, B. c. 331. He died during the expedition of the king to India. (Arr. Anab. iii. 18, vi. 29.) [E. H. B.] PHRA'SIUS (pάotos), a Cyprian soothsayer, who advised Busiris to sacrifice the strangers that came to his dominions for the purpose of averting a scarcity; but Phrasius himself fell a victim to his own advice. (Apollod. ii. 5. § 11; Arcadius, xl. 32.) [L. S.] PHRATAGUNE (Þрaтayoun), a wife of Dareius I., king of Persia, whose two children by this monarch fell at the battle of Thermopylae. (Herod. vii. 224.) [ABROCOMES.] PHRATAPHERNES (paтapépvns). 1. A Persian who held the government of Parthia and Hyrcania, under Dareius Codomannus, and joined that monarch with the contingents from the provinces subject to his rule, shortly before the battle of Arbela, B. c. 331. He afterwards accompanied the king on his flight into Hyrcania, but, after the death of Dareius, surrendered voluntarily to Alexander, by whom he was kindly received, and appears to have been shortly after reinstated in his satrapy. At least he is termed by Arrian satrap of Parthia, during the advance of Alexander against Bessus, when he was detached by the king, together with Erigyius and Caranus to crush the revolt of Satibarzanes, in Asia. He rejoined the king at Zariaspa, the following year. The next winter (B. C. 328-327), during the stay of Alexander at Nautaca, we find Phrataphernes again despatched to reduce the disobedient satrap of the Mardi and Tapuri, Autophradates, a service which he successfully performed, and brought the rebel a captive to the king, by whom he was subsequently put to death. He rejoined Alexander in India, shortly after the defeat of Porus; but seems to have again returned to his satrapy, from whence we find him sending his son Pharasmanes with a large train of camels and beasts of burthen, laden with provisions for the supply of the army during the toilsome march through Gedrosia (Arr. Anab. iii. 8, 23, 28, iv. 7, 18, v. 20, vi. 27; Curt. vi. 4. § 23, viii. 3. § 17, ix. 10. § 17). From this time we hear no more of him until after the death of Alexander. In the first division of the provinces consequent on that event, he retained his government (Diod. xviii. 3); but it is probable that he died previously to the second partition at Triparadeisus (B. C. 321), as on that occasion we find the satrapy of Parthia bestowed on Philip, who had been previously governor of Sogdiana. (Droysen, Hellenism, vol. i. pp. 49, 151.) 2. The king of the Chorasmians who is called Pharasmanes by Arrian [PHARASMANES, No. 1], bears in Curtius (viii. 1. § 8) the name of Phrataphernes. [E. H. B.] PHRIXUS (picos), a son of Athamas and Nephele or of Athamas and Themisto (Schol. ad Apollon. Rhod. ii. 1144), and brother of Helle, and a grandson of Aeolus (Apollon. Rhod. ii. 1141). In consequence of the intrigues of his stepmother, Ino (others state that he offered himself), he was to be sacrificed to Zeus ; but Nephele removed him and Helle, and the two then rode away on the ram with the golden fleece, the gift of Hermes, through the air. According to Hyginus (Fab. 3), Phrixus and Helle were thrown by Dionysus into a state of madness, and while wandering about in a forest, they were removed by Nephele. Between Sigeum and the Chersonesus, Helle fell into the sea which was afterwards called after her the Hellespont; but Phrixus arrived in Colchis, in the kingdom of Aeetes, who gave him his daughter Chalciope in marriage (comp. Schol. ad Apollon. Rhod. ii. 1123, 1149). Phrixus sacrificed the ram which had carried him, to Zeus Phyxius or Laphy stius (Schol. ad Apollon. Rhod. ii. 653; Paus. i. 24. § 2), and gave its skin to Aeetes, who fastened it to an oak tree in the grove of Ares. By Chalciope Phrixus became the father of Argus, Melas, Phrontis, Cytisorus, and Presbon (Apollod. i. 9. § 1; Hygin. Fab. 14; Paus. ix. 34. § 5; Schol. ad Apollon. Rhod. ii. 1123; Tzetz. ad Lyc. 22; Diod. iv. 47). Phrixus died in old age in the kingdom of Aeetes, or, according to others, he was killed by Aeetes in consequence of an oracle (Apollon. Rhod. ii. 1151; Hygin. Fab. 3), or he returned to Orchomenus, in the country of the Minyans. (Paus. ix. 34. § 5; comp. ATHAMAS; JASON.) [L. S.] PHRONTIS (póvTis). 1. A son of Phrixus and Chalciope. (Apollod. i. 9. § 1; Apollon. Rhod. ii. 1157; lygin. Fab. 14.) 2. A son of Onetor, was the helmsman of Menelaus. (Hom. Od. iii. 282; Paus. x. 25. § 2.) 3. The wife of Panthous, of whom Homer speaks. (I. xvii. 40.) [L. S.] PHRONTON (Φρόντων), the author of two epigrams in the Greek Anthology (Brunck, Anal. vol. ii. p. 346; Jacobs, Anth, Graec. vol. iii. p. 56, xiii. p. 938). Jacobs supposes him to be the rhetorician of Emisa, mentioned by Suidas (s. v.), who lived in Rome in the reign of Severus, and died at Athens at the age of sixty, and who was the uncle of the celebrated critic Longinus. He is constantly confounded with the distinguished Roman orator, M. Cornelius Fronto, the tutor of M. Antoninus. (See Ruhnken, Dissert. Philol. de Longino, § iii. p. 6, Opusc. p. 491.) [P.S.] PHRY GIA (pvyía), a daughter of Cecrops, from whom the country of Phrygia was believed to have derived its name (Plin. H. N. v. 32). Phrygia is also used for Cybele, as the goddess who was worshipped above all others in Phrygia (Virg. Aen. vii. 139; Strab. x. p. 469), and as a surname of Athena (Minerva) on account of the Palladium which was brought from Phrygia. (Ov. Met. xiii. 337; compare Apollod. iii. 12. § 3.) [L. S.] PHRYGILLUS, an artist, who appears to have been one of the most ancient, as well as one of the most celebrated medallists and engravers of precious stones. There is a very beautiful intaglio by him, representing Love seated and supporting himself on the ground, in the attitude of those figures of boys playing the game of astragals, which so often occurs in the works of ancient art. The form of the letters of the name PVгIAAOZ, the large size of the wings of the figure of Love, and the whole style of the gem, concur to show that the artist belonged to the earlier Greek school. There is also engraved upon this gem a bivalve shell, which also occurs on the coins of Syracuse; whence it may be inferred that the artist was a Syracusan. This conjecture becomes a certainty through the fact, recently published by Raoul-Rochette, that there exist medals of Syracuse, on which the name of Phrygillus is inscribed. One medal of this type is in the possession of R. Rochette himself, who has given an engraving of it on the title-page of his Lettre à M. Schorn, by the side of an engraving of the gem already mentioned. Another medal of this type is in the collection of the Duc de Luynes. The same collection contains another very beautiful Syracusan medal, in bronze, bearing the inscription PT, which no one can now hesitate to recognise as the initial letters of the name Phrygillus. RaoulRochette accounts these three medals to be among the most precious remains of ancient numismatic art. The identification, in this instance, of a distinguished medallist and gem-engraver, goes far to settle the question, which has been long discussed, whether those professions were pursued by the same or by different classes of artists among the Greeks. (R. Rochette, Lettre à M. Schorn, pp. 79 -83, 148, 2d edition.) [P.S.] PHRYLUS, a painter, whom Pliny places at Ol. 90, B. c. 420, with Aglaophon, Cephissodorus, and Evenor, the father of Parrhasius; of all of whom he says, that they were distinguished, but not deserving of any lengthened discussion (omaes jam illustres, non tamen in quibus haercre expositio debeat, H. N. xxxv. 9. s. 36). [P.S.] PHRYNE (púvn), one of the most celebrated Athenian hetairae, was the daughter of Epicles, and a native of Thespiae in Boeotia. She was of very humble origin, and originally gained her livelihood by gathering capers; but her beauty procured for her afterwards so much wealth that she is said to have offered to rebuild the walls of Thebes, after they had been destroyed by Alexander, if she might be allowed to put up this inscription on the walls :"Alexander destroyed them, but Phryne, the hetaira, rebuilt them." She had among her admirers many of the most celebrated men of the age of Philip and Alexander, and the beauty of her form gave rise to some of the greatest works of art. The orator Hyperides was one of her lovers, and he defended her when she was accused by Euthias on one occasion of some capital charge; but when the eloquence of her advocate failed to move the judges, he bade her uncover her breast, and thus ensured her acquittal. The most celebrated picture of Apelles, his "Venus Anadyomene" [APELLES, p. 222, b.], is said to have been a representation of Phryne, who, at a public festival at Eleusis, entered the sea with dishevelled hair. The celebrated Cnidian Venus of Praxiteles, who was one of her lovers, was taken from her [PRAXITELES], and he expressed his love for her in an epigram which he inscribed on the base of a statue of Cupid, which he gave to her, and which she dedicated at Thespiae. Such admiration did she excite, that her neighbours dedicated at Delphi a statue of her, made of gold, and resting on a base of Pentelican marble. According to Apollodorus (ap. Athen. xiii. p. 591, e.) there were two hetairae of the name of Phryne, one of whom was surnamed Clausilegos and the other Saperdium; and according to Herodicus (Ibid.) there were also two, one the Thespian, and the other surnamed Sestus. The Thespian Phryne, however, is the only one of whom we have any account. (Athen. xiii. pp. 590, 591, 558, c. 567, e, 583, b.c. 585, e. f.; Äelian, V. H. ix. 32; Alciphron, Ep. i. 31 ; Plin. H. N. xxxiv. 8. s. 19. §10; Propert. ii. 5; Jacobs, Att. Mus. vol. iii. pp. 18, &c. 36, &c.) tion to Tissaphernes and Alcibiades, and the latter complained to his friends in the Athenian armament of the treason of Phrynichus, and demanded that he should be put to death. Thirlwall (vol. iv. p. 34) is at a loss to decide whether the conduct of Phrynichus upon this occasion was the result of a blind want of caution, or a bold and subtle artifice. He wrote again to Astyochus, offering to betray the Athenian armament into his hands, and before the letter of Alcibiades, to whom Astyochus again showed the letter of Phrynichus, who sent a fresh charge against Phrynichus, could reach the Athenians, Phrynichus warned the Athenians that the enemy were preparing to surprise their encampment. By these means he made it appear that the charges of Alcibiades were groundless, and preferred against him out of personal enmity. Soon afterwards Peisander, wishing to get Phrynichus out of the way, procured his recal. In the subsequent progress of the oligarchical intrigues, when the oligarchical faction found that the hopes held out to them by Alcibiades were groundless, and that they could get on better without him than with him, Phrynichus again joined them, and, in conjunction with Antiphon, Peisander, and Theramenes, took a prominent part in the revolution which issued in the establishment of the oligarchy of the Four Hundred. When, on the junction effected between Alcibiades and the Athenians at Samos, Theramenes and others counselled the oligarchs to make the best terms they could with their antagonists, Phrynichus was one of the foremost in opposing every thing of the kind, and with Antiphon and ten others was sent to Sparta to negotiate a peace. On his return he was assassinated in the agora by a young Athenian, who was assisted by an Argive. The former escaped, but the latter was seized and put to the torture. It appeared that the assassination was the result of a conspiracy among those opposed to the oligarchs, and the latter found it the most prudent plan not to pursue the investigation (Thuc. viii. 48, 50, &c., 54, 68, 90, 92). Lycurgus (adv. Leoer. p. 217, ed. Reiske) gives a different account of his assassination. [C. P. M.] PHRY NICHUS (Þpúvixos), an Athenian general, the son of Stratonides (Schol. ad Aristoph. PHRY NICHUS (Þpúvixos), literary. 1. The Lys. 313). In B. c. 412 he was sent out with two son of Polyphradmon (or, according to others, of Miothers in command of a fleet of 40 ships to the nyras), an Athenian, was one of the poets to whom coast of Asia Minor. The troops encamped in the the invention of tragedy is ascribed: he is said to territory of Miletus. A battle ensued in which have been the disciple of Thespis (Suid. s. v.). He the Athenians were victorious. A Peloponnesian is also spoken of as before Aeschylus (Schol. in Arisfleet having arrived soon after, the colleagues of toph. Ran. 941). He is mentioned by the chronoPhrynichus were for risking an engagement, from graphers as flourishing at Ol. 74, B. c. 483 (Cyrill. which Phrynichus (wisely, as Thucydides thinks) Julian. i. p. 13, b.; Euseb. Chron. s. a. 1534; dissuaded them (Thuc. viii. 25, 27, &c.). In Clinton, F. H. s. a.). He gained his first tragic 411, when proposals were made to the Athenians victory in Ol. 67, B. c. 511 (Suid. s. v.), twentyat Samos on the part of Alcibiades, who offered to four years after Thespis (B. c. 535), twelve years secure for them Persian aid if an oligarchy were after Choerilus (B. c. 523), and twelve years before established instead of a democracy, Phrynichus Aeschylus (B. c. 499); and his last in Ol. 76, again offered some sagacious advice, pointing out B. C. 476, on which occasion Themistocles was the dangers into which such a course would plunge his chorayus, and recorded the event by an inthem, and expressing his belief that Alcibiades scription (Plut. Themist. 5). Phrynichus must, was not at heart more friendly to an oligarchy therefore, have flourished at least 35 years. He than to a democracy, and his doubts as to his probably went, like other poets of the age, to the power of executing his promises. Peisander and court of Hiero, and there died; for the statement the other members of the oligarchical faction, how-of the anonymous writer on Comedy, in his account ever, slighted his advice, and sent a deputation to Athens. Phrynichus, fearing for his safety in case Alcibiades should be restored, sent a letter to Astyochus, informing him of the machinations of Alcibiades. Astyochus betrayed the communica of Phrynichus, the comic poet (p. 29), that Phrynichus, the son of Phradmon, died in Sicily, evidently refers properly to the tragic poet, on account of his father's name. In all the accounts of the rise and development of tragedy, the chief place after Thespis is assigned to Phrynichus. The external and mechanical improvements in the drama are indeed ascribed to each of the great tragedians who lived at the end of the sixth and beginning of the fifth centuries B. C., namely, Choerilus, Phrynichus, Pratinas, and Aeschylus; and there might well be doubts on such matters, as every formal improvement made by either of these poets must, of necessity, have been adopted by the others; so that the tragedy which Phrynichus exhibited in B. c. 476, after the introduction of those improvements which are usually ascribed to Aeschylus, must have been altogether a different kind of drama from that with which he gained his first prize in B. c. 511. Of such inventions, the one ascribed to Phrynichus is the introduction of masks representing female persons in the drama. But those improvements which are ascribed specially to Phrynichus affect the internal poetical character of the drama, and entitle him to be considered as the real inventor of tragedy, an honour which the ancients were in doubt whether to assign to him or to Thespis (Plato, Minos, p. 321). For the light, ludicrous, Bacchanalian stories of the latter, he substituted regular and serious subjects, taken either from the heroic age, or the heroic deeds which illustrated the history of his own time. In these he aimed, not so much to amuse the audience as to move their passions; and so powerful was the effect of his tragedy on the capture of Miletus, that the audience burst into tears, and fined the poet a thousand drachmae, because he had exhibited the sufferings of a kindred people, and even passed a law that no one should ever again make use of that drama (Herod. vi. 21). It has been supposed by some that the subjects chosen by Phrynichus, and his mode of treating them, may have been influenced by the recent publication, under the care of Peisistratus, of the collected poems of Homer; which poems, in fact, Aristotle regards as the source of the first idea of tragedy. Aeschylus, the great successor of Phrynichus, used to acknowledge his obligations to Homer, by saying that his tragedies were only τεμάχη τῶν Ομήρου μεγάλων δείπνων. (Ath. viii. p. 348.) In the poetry of the drama, also, Phrynichus made very great improvements. To the light mimetic chorus of Thespis he added the sublime music of the dithyrambic chorusses; and the effect of this alteration must have been to expel from the chorus much of the former element, and to cause a better arrangement of the parts which were assigned respectively to the chorus and the actor. We have several allusions to the sublime grandeur, and the sweet harmony of his choral songs. Aristophanes more than once contrasts these ancient and beautiful melodies with the involved refinements of later poets (Av. 748, Vesp. 219, 269, Ran. 911, 1294, Thesm. 164; comp. Schol. ad loc. and ad Ran. 941); some writers ascribe to Phrynichus the ancient hymn to Pallas which Aristophanes refers to as a model of the old poetry (Nub. 964; comp. LAMPROCLES); and his were among the paeans which it was customary to sing at the close of banquets and of sacrifices (Bode, Gesch. d. Hellen. Dichtkunst, vol. ii. pt. 1, p. 70). Phrynichus appears moreover to have paid particular attention to the dances of the chorus; and there is an epigram ascribed to him, celebrating his skill in the invention of figures (Plut. Sympos. iii. 9). Suidas also says that he composed pyrrhic dances (s. v.). In the drama of Phrynichus, however, the chorus still retained the principal place, and it was reserved for Aeschylus and Sophocles to bring the dialogue and action into their due position. Thus Aristophanes, while attacking Aeschylus for this very fault, intimates that it was a remnant of the drama of Phrynichus (Ran. 906, &c.); and one of the problems of Aristotle is, "Why were the poets of the age of Phrynichus more lyric than the later tragedians ?" to which his answer is that the lyric parts were much more extensive than the narrative in their tragedies. (Prob. xix. 31.) Of the several plays of Phrynichus we have very little information. Suidas, who (as in other instances) has two articles upon him, derived, no doubt, from different sources, gives the following titles:-Пevpwría (or Пλeúpwv, Paus. x. 31. § 2), Αἰγύπτιοι, Ακταίων, ̓́Αλκηστις, ̓Ανταῖος ἢ Λίβυες, Δίκαιοι ἢ Πέρσαι ἢ Σύνθωκοι, Δαναίδες, 'Ανδρομέδα, Ηριγόνη, and “Αλωσις Μιλησίων (οι MiλńTOU AWσis). The last of these plays, which has already been referred to, must have been acted after B. c. 494, the year in which Miletus was taken by the Persians. Suidas omits one of his most celebrated, and apparently one of his best plays, namely, the Phoenissae, which had for its subject the defeat of the Persian invaders, and to which Aeschylus is said by an ancient writer to have been greatly indebted in his Persae (Argum. in Aesch. Pers.). The conjecture of Bentley seems very probable, that this was the play with which Phrynichus gained his last recorded victory, with Themistocles for his choragus. Phrynichus had a son, Polyphradmon, who was also a tragic poet. (Fabric. Bibl. Graec. vol. ii. p. 316; Bentley, Answer to Boyle; Welcker, Die Griech. Trag. pp. 18, 127; Müller; Bode; Bernhardy.) 2. A tragic actor, son of Chorocles, whom Suidas confounds with the great tragic poet, but who is distinguished from him by a scholiast on Aristophanes (Av. 750), who mentions four Phrynichi, the tragic poet, the tragic actor, the comic poet, and a general. This actor is no doubt the person whose dancing is ridiculed by Aristophanes, in passages which Bentley erroneously referred to the tragic poet (Vesp. 1481, 1515). He is also mentioned by Andocides as púvixos o opouevos (De Myst. p. 24); and an attack in the Clouds of Aristophanes (1092), on the tragic actors of the day is explained by the scholiast as referring to Phrynichus. (See Meineke, Hist. Crit. Com. Gruec. pp. 148, 149.) 3. A comic poet of the Old Comedy (Tŵv énidevTéρwv Tĥs apxaias kwμwdías), was, according to the most probable statement, the son of Eunomides (Schol. ad Aristoph. Ran. 14). He first exhibited, according to Suidas, in Ol. 86, B. C. 435, where, however, we should perhaps read O1. 87, for the anonymous writer on Comedy (p. 29) places him, with Eupolis, at Ol. 87. 3, B. c. 429 (Clinton, F. H. sub ann.). Nothing more is known of the life of Phrynichus, for the statement of the anonymous writer, that he died in Sicily, refers, in all proba bility, to the tragic poet (see above), and the story of a scholiast (ad Aristoph. Ran. 700) about his being elected a general, is an error which has been sufficiently exposed by Bentley and Meineke. Phrynichus was ranked by the grammarians among the most distinguished poets of the Old of this musician, Phrynnis had been a flute-player, which may partly account for the liberties he took with the music of the cithara. His innovations, effeminacies, and frigidness are repeatedly attacked by the comic poets, especially Pherecrates (ap. Plut. de Mus. p. 1146; Meineke, Frag. Com. Graec, vol. Comedy (Anon. de Com. p. 28), and the elegance and vigour of his extant fragments sustain this judgment. Aristophanes, indeed, attacks him, together with other comic poets, for the use of low and obsolete buffoonery (Ran. 14), but the scholiast on the passage asserts that there was nothing of the sort in his extant plays. He was also chargedii. p. 326, &c.) and Aristophanes (Nub. 971, comp. with corrupting both language and metre, and with plagiarism; the last of these charges was brought against him by the comic poet Hermippus, in his Popμópopoi (Schol. ad Aristoph. l. c., and Av. 750). These accusations are probably to be regarded rather as indications of the height to which the rivalry of the comic poets was carried, than as the statement of actual truths. We find Eupolis also charged by Aristophanes with plagiarisms from Phrynichus (Nub. 553). On the subject of metre, we are informed that Phrynichus invented the Ionic a Mi-Dithyramb. pp. 89-95.) nore Catalectic verse, which was named after him Phrynnis was the first who gained the victory in (Marius Victor, p. 2542, Putsch; Hephaest. p. 67, the musical contests established by Pericles, in Gaisf.): about another metre, the Trinician, there connection with the Panathenaic festival (Schol. ad is some doubt (see Meineke, pp. 150, 151). His | Aristoph. Nub. 1. c.), probably in B. c. 445 (Müller, language is generally terse and elegant, but he Gesch. d. Griech. Litt. vol. ii. p. 286). He was sometimes uses words of peculiar formation (Mei- one of the instructors of Timothens, who, however, neke, p. 151). The celebrated grammarian, Didy- | defeated him on one occasion. (Müller, l. c.) [P.S.] mus of Alexandria, wrote commentaries on Phry- PHRYNON. [ALCAEUS.] nichus, one of which, on the Kpóvos, is quoted by Athenaeus (ix. p. 371, f.). Schol.). Among the innovations which he is said to have made, was the addition of two strings to the heptachord; and Plutarch relates that, when he went to Sparta, the Ephors cut off two of his nine strings, only leaving him the choice, whether he would sacrifice the two lowest or the two highest. The whole story, however, is doubtful; for it is not improbable that the number of strings had been increased at an earlier period. (For a fuller discussion of his musical innovations, see Schmidt, The number of his comedies is stated by the anonymous writer on comedy (p. 34) at ten; and Suidas gives the same number of titles, namely, Εφιάλτης, Κόννος, Κρόνος, Κωμασταί, Σάτυροι, Τραγῳδοὶ ἡ ̓Απελεύθεροι, Μονότροπος, Μοῦσαι, Μύστης, Προάστριαι, the subjects of which are fully discussed by Meineke. The Movóтporos was acted, with the Birds of Aristophanes and the Comastae of Ameipsias, in Ol. 91. 2, B. c. 414, and obtained the third prize; and the Moura was acted, with the Frogs of Aristophanes and the Cleophon of Plato, in Ol. 93. 3, в. c. 405, and obtained the second prize. (Fabric. Bibl. Graec. vol. ii. pp. 483, 484; Meineke, Frag. Com. Graec. vol. i. pp. 146-160, ii. pp. 580-608; Bergk, Reliq. Com. Att. Ant. pp. 366, &c.) [P.S.] PHRYNIS. [PHRYNNIS.] PHRYNISCUS (Þpuvíσкos), an Achaean, who was engaged in the expedition of Cyrus the Younger. When the Cyreans had been deceived by the adventurer Coeratadas at Byzantium, B. c. 400, Phryniscus was one of those who advised that they should enter the service of Seuthes, the Odrysian prince, who wanted their aid for the recovery of his dominions. We find Phryniscus afterwards, together with Timasion and Cleanor, joining cor dially with Xenophon in his endeavour to obtain from Seuthes the pay that was due, and so baffling the attempt of Heracleides of Maroneia to divide the Greek generals (Xen. Anab. vii. 2. §§ 1, 2, 5. $$ 4. 10). [HERACLEIDES, No 16.] [E. E.] PHRYNNIS (púvvis), or PHRYNIS (opûvis), a celebrated dithyrambic poet, of the time of the Peloponnesian war, was a native of Mytilene, but flourished at Athens. His father's name seems to have been Camon, or Cambon, but the true form is very doubtful. Respecting his own name, also, there is a doubt, but the form Phrynnis is the genuine Aeolic form. He belonged to the Lesbian school of citharoedic music, having been instructed by Aristocleitus, a musician of the time of the Persian wars, who claimed a lineal descent from Terpander. Before receiving the instructions PHRYNON, a statuary, whom Pliny mentions as the disciple of Polycleitus, and who must, therefore, have lived about B. c. 408. His country is not mentioned. (H. N. xxxiv. 8. s. 19; respecting the true reading see Thiersch, Epochen, p. 276.) [P.S.] PHRYNUS, artists. 1. A Greek statuary, whose name is only known by an inscription in ancient characters, on a small bronze figure found at Locri. (Visconti, Mus. Pio-Clem. vol. iv. pl. xlix. p. 66.) 2. A maker of vases, whose name occurs on a vase of an ancient style, found at Vulci, and now in the collection of M. Durand. The inscription is as follows: PVNOSEITOIESENXAIPEMEN. (Raoul-Rochette, Lettre à M. Schorn, p. 56, 2d ed.) [P.S.] PHTHIA (0ía). 1. A daughter of Amphion and Niobe. (Apollod. iii. 5. § 6.) 2. The beloved of Apollo, by whom she became the mother of Dorus, Laodocus, and Polypoetes. (Apollod. i. 7. § 6; comp. AETOLUS.) 3. The name in some traditions given to the mistress of Amyntor. (Tzetz. ad Lyc. 421; comp. PHOENIX, No. 2.) [L. S.] PHTHIA (0ía). 1. A daughter of Menon of Pharsalus, the Thessalian hipparch [MENON, No. 4], and wife of Aeacides, king of Epeirus, by whom she became the mother of the celebrated Pyrrhus, as well as of two daughters: DEÏDA MEIA, the wife of Demetrius Poliorcetes and Troïas, of whom |