Plate LII. THE TEMPLE OF APOLLO AT PHIGALEIA [BASSÆ
English Photo Co., Athens
genius of Greece pursued it. Athenian drama, Tragic, Comic, and Satyric, was produced at the festivals of Dionysus, and it has generally been supposed to have taken its rise from rude choruses in honour of the wine-god, developed by Arion and others into the Dithyramb. This is an ancient and respectable theory. The Satyric Drama is obviously connected with wine and the wine-god’s goatish followers, the Satyrs. Comedy was derived from kōmē, a village, being originally the rustic form of the same species of mimetic worship. As for Tragedy, that was traced etymologically to the Greek for a goat, and of course the goat has a family relationship with Dionysus. But it has recently been argued that Tragedy was certainly the earliest form of the drama to be developed, and though we may wind up an evening’s jollification by going to see “Othello,” yet ancient Tragedy has, as was often remarked by the ancients themselves, nothing to do with wine or Dionysus, and is scarcely of the festive character that we should associate with that cheerful deity. Professor Ridgeway has shown some reason to believe that the drama took its rise in quite a different manner—namely, from the funeral ceremonies held at the tomb of a dead hero. He shows the frequent appearance of tombs in the scenery of Tragedy, and adduces evidence to prove that the Greeks did include mimetic representations of the dead hero and his deeds among the ceremonies performed in his honour. This would account not only for the character of Tragedy, with its sombre musings upon Death and Fate, but also for the milieu in which its scenes invariably moved—namely, the Epic circle of heroes. Professor Ridgeway further points out that the worship of Dionysus was itself not a very ancient nor a strictly Greek cult. Theatres and dancing-floors are, however, as old as Cnossos.
But this very plausible and suggestive theory has scarcely yet had time to stand its trial. What is certain and most important for the understanding of Tragedy is that the Drama was evolved from the song and dance of the Chorus. First one and then two members of the corps de ballet were brought out from the ranks to perform solo impersonations, to narrate an episode in descriptive rhapsody, or to exchange information by rapid question and answer. Important stages in this evolutionary process were attributed in antiquity to Thespis, the so-called “inventor” of Tragedy, and to Phrynichus and Æschylus, all Athenians of the late sixth and early fifth centuries. Then the part played by the “Answerers” (hypocrites), as the actors were called, gradually gained in magnitude and importance. In Æschylus the choric passages are still the main feature of the play. In Sophocles they form a kind of lyric commentary on the action of the drama, in which the interest now begins to centre. In the later work of Euripides the Chorus is largely a superfluous concession to dramatic conventions. Already by the end of Sophocles’ career there were as many as four actors, and since each performed numerous impersonations, the range of character was considerable. Grand as Athenian drama is, even regarded as a vehicle of literary composition, the mere writing of the “book” was a subordinate part of the work of producing a play. In fact Greek tragedy is far more closely akin to the modern oratorio than to the modern stage-play. The task of providing, equipping, and training a chorus was one of the “liturgies” or public duties laid by the Athenian state upon her richer citizens. It lay in the archon’s discretion to “grant a chorus” to a poet.
The stage consisted originally of a circular dancing-floor (orchestra) with an altar in the middle. Here the fifteen members of the chorus marched in, headed by a single flute-player, chanting in unison. As soon as they had arrived in position they formed line three deep, the coryphæus in the middle of the front row, with the leader of each semichorus on his right and left. While they sang they performed simple rhythmic movements of a solemn character. At first the individual actors simply stepped out from the ranks to deliver their lines, but in later times (when precisely, is a matter of burning controversy) they appeared behind the orchestra on a raised stage. The performance was, of course, always given
COMBAT BETWEEN CENTAURS AND LAPITHÆ [WEST SIDE, SLAB 528
