from the second and one from the third, till all twelve plays had been given; (5) that of Welcker—Suidas means simply that Sophocles dispensed with an inner connection in the trilogy.
Seeing that no one of these interpretations appears tenable, are we then reduced to the conclusion which has been adopted by Adolf Schöll, and more lately by Günther—that the statement of Suidas is in irreconcileable conflict with the other extant evidence? Are we to suppose that, using some more ancient authority, the lexicographer of the eleventh century has not only misunderstood it, but has so transformed the sense that the real meaning of the original statement can no longer be divined?
It is only in the last resort that such a conclusion would be justified; and I cannot but think that the words of Suidas are susceptible of an explanation which, so far as I know, has not yet been suggested. In the first place, it seems beyond all reasonable doubt that Sophocles continued the Aeschylean practice by composing tetralogies—a practice which we have found in use down to the end of the fifth century; we know that he competed against the tetralogies of other poets. It also seems clear that, as the linked trilogy was characteristic of Aeschylus, the unconnected trilogy was characteristic of Sophocles, though we cannot assume that the general rule was observed without exception in either case. Now let us consider a matter which, in previous discussions of this question, seems
