he tragic. Of that which makes the
essence of the solemn drama of Athens--its stately plot, its gigantic
images, its prodigal and sumptuous poetry, Thespis was not in any way
the inventor. But PHRYNICHUS, the disciple of Thespis, was a poet; he
saw, though perhaps dimly and imperfectly, the new career opened to
the art, and he may be said to have breathed the immortal spirit into
the mere mechanical forms, when he introduced poetry into the bursts
of the chorus and the monologue of the actor. Whatever else
Phrynichus effected is uncertain. The developed plot--the
introduction of regular dialogue through the medium of a second actor
--the pomp and circumstance--the symmetry and climax of the drama--do
not appear to have appertained to his earlier efforts; and the great
artistical improvements which raised the simple incident to an
elaborate structure of depicted narrative and awful catastrophe, are
ascribed, not to Phrynichus, but Aeschylus. If the later works of
Phrynichus betrayed these excellences, it is because Aeschylus had
then become his rival, and he caught the heavenly light from the new
star which was destined to eclipse him. But every thing essential was
done for the Athenian tragedy when Phrynichus took it from the satyr
and placed it under the protection of the muse--when, forsaking the
humours of the rustic farce, he selected a solemn subject from the
serious legends of the most vivid of all mythologies--when he breathed
into the familiar measures of the chorus the grandeur and sweetness of
the lyric ode--when, in a word, taking nothing from Thespis but the
stage and the performers, he borrowed his tale from Homer and his
melody from Anacreon. We must not, then, suppose, misled by the
vulgar accounts of the Athenian drama, that the contest for the goat,
and the buffooneries of Thespis, were its real origin; born of the
epic and the lyric song, Homer gave it character, and the lyrists
language. Thespis and his predecessors only suggested the form to
which the new-born poetry should be applied.

IV. Thus, under Phrynichus, the Thespian drama rose into poetry,
worthy to exercise its influence upon poetical emulation, when a young
man of noble family and sublime genius, rendered perhaps more
thoughtful and profound by the cultivation of a mystical philosophy
[11], which had lately emerged from the primitive schools of Ionian
wisdom, brought to the rising art the united dignity of rank,
philosophy, and