[862]. Athen. x. 71.

[863]. Athen. x. 73.

CHAPTER VII.
THE THEATRE.

It is far from being my purpose to repeat the information which may be obtained from a hundred authors on the rise and progress of scenic representation in Greece. I shall, on the contrary, confine myself chiefly to those parts of the subject which others have either altogether neglected, or treated in a concise and unsatisfactory manner. It would, nevertheless, be beside my purpose to attempt the clearing up of all such difficulties as occur in the accounts transmitted to us of the Hellenic drama; and, in fact, notwithstanding the laborious investigations into which I have been compelled to enter, I feel that there are many points upon which I can throw no new light, and which appear likely for ever to baffle the ingenuity of architects and scholars.

Dionysos, being a deity connected with agriculture, his worship naturally took its rise, and for a long time prevailed chiefly, in the country. His festivals were celebrated with merriment; and, the power of mimicry being natural to man, the rustics, when congregated to set forth the praise of their tutelar god, easily glided into the enactment of a farcical show. And dramatic exhibitions at the outset were little superior to the feats of Punch, though, so great was their suitableness to the national character, that, in the course of time, every town of note had its own theatre, as it had of old its own dithyrambic bard;[[864]] and dramatic writers were multiplied incomparably beyond what they have been in any other country.

Both tragedy and comedy,[[865]] properly so called, took their rise in Attica, and there only, in the ancient world, flourished and grew up to perfection. The theatre, in fact, formed at length a part of the constitution, and, probably, the worst part, its tendency being to foster personal enmities, to stir the sources of malice, and, while pretending to purge off the dross of the passions by the channels of sorrow and mirth, to induce habits of idleness and political apathy, by affording in the brilliant recesses of a mock world a facile refuge from the toils and duties of the real one. Nevertheless, it may be curious to open up a view into that universe of shadows wherein the vast creations of Æschylus, of Sophocles, of Euripides, of Aristophanes, and Menander displayed themselves before the eyes of the Athenians, with a costly grandeur and magnificence never equalled save in imperial Rome.

It has been already remarked, that to the Dionysiac theatre of Athens the architectural speculations of Vitruvius on dramatic edifices apply, this building having constituted the model on which similar structures were afterwards erected.[[866]] By carefully studying its details, therefore, we shall be enabled to form a tolerably just conception of all the theatres once found in Greece, though each, perhaps, may have been slightly modified in plan, general arrangement, and decorations, by the peculiarities of the site, and the science or taste of its architect.

The great theatre of Bacchos, partly scooped out of the rock on the face of the hill at the south-eastern angle of the Acropolis, stretched forth, on solid piers of masonry, a considerable distance into the plain, and was capable of containing upwards of thirty thousand people. The diameter, accordingly, if it did not exceed, could have fallen little short of five hundred feet.[[867]] For we are not to suppose that, while Sparta,[[868]] and Argos, and Megalopolis, cities comparatively insignificant, possessed theatres of such dimensions, Athens, incomparably the largest and most beautiful of Hellenic capitals, would have been content with one of inferior magnitude.[[869]]

To determine accurately the various parts of the theatre, and thus affix a distinct meaning to every term connected with it, has exercised the ingenuity of critics and architects for the last three hundred years, still leaving many difficulties to be overcome. I can scarcely hope in every case to succeed where they have failed. But the following explanation may, perhaps, convey of its interior an idea sufficiently exact for all practical purposes.