The following six titles, along with associated fragments, are all that survives of Diocles' (Greek: Διοκλῆς) work. The Suda states that some accounts claimed that Diocles invented a means of playing music by striking saucers and pottery vessels with a wooden stick.^[1]

The following five titles, along with associated fragments, are all that survives of Diodorus' (Greek: Διόδωρος) work.

Kassel-Austin places Ophelion (Greek: Ὠφελίων) in the Middle Comedy period.^[3] The Suda credits him with six plays: Callaeschrus, Centaur, Deucalion, Muses, Recluses, and Satyrs.^[4] Athenaeus cites his work four times.^[5]

The following eight titles, along with associated fragments, are all that survives of Philiscus' (Greek: Φιλίσκος) work.

The following six titles, along with associated fragments, are all that survives of Polyzelus' (Greek: Πολύζηλος) work.^[6]

The Suda claims that Sophilus (Greek: Σώφιλος) was from either Sicyon or Thebes.^[7] The following nine titles, along with associated fragments, are all that survives of Sophilus' work.

The Suda confuses this playwright with the iambic poet Sotades of Maroneia.^[8] Of his work, only the following three titles (along with associated fragments) have come down to us: Charinus, The Ransomed Man, and The Shut-In Women.

The following nine titles, along with associated fragments, are all that survives of Theophilus' (Greek: Θεόφιλος) work.^[9]

The Suda lists four plays by Timotheus of Athens (Greek: Τιμόθεος ὁ Ἀθηναῖος): The Boxer, The Changing Man (or The Shifting Man), The Deposit, and The Puppy.^[10] Only one four-line quotation of Timotheus' work survives, a quotation from The Puppy by Athenaeus.^[11]

The following eight titles, along with associated fragments, are all that survives of Xenarchus' work.