es and Euripides. The general rule was necessarily
stimulant of renewed and unceasing exertion, and was, perhaps, the
principal cause of the almost miraculous fertility of the Athenian
dramatists.

VI. On the lower benches of the semicircle sat the archons and
magistrates, the senators and priests; while apart, but in seats
equally honoured, the gaze of the audience was attracted, from time to
time, to the illustrious strangers whom the fame of their poets and
their city had brought to the Dionysia of the Athenians. The youths
and women [18] had their separate divisions; the rest of the audience
were ranged according to their tribes, while the upper galleries were
filled by the miscellaneous and impatient populace.

In the orchestra (a space left by the semicircular benches, with wings
stretching to the right and left before the scene), a small square
platform served as the altar, to which moved the choral dances, still
retaining the attributes of their ancient sanctity. The coryphaeus,
or leader of the chorus, took part in the dialogue as the
representative of the rest, and, occasionally, even several of the
number were excited into exclamations by the passion of the piece.
But the principal duty of the chorus was to diversify the dialogue by
hymns and dirges, to the music of flutes, while, in dances far more
artful than those now existent, they represented by their movements
the emotions that they sung [19],--thus bringing, as it were, into
harmony of action the poetry of language. Architectural
embellishments of stone, representing a palace, with three entrances,
the centre one appropriated to royalty, the others to subordinate
rank, usually served for the scene. But at times, when the plot
demanded a different locality, scenes painted with the utmost art and
cost were easily substituted; nor were wanting the modern contrivances
of artificial lightning and thunder--the clouds for the gods--a
variety of inventions for the sudden apparition of demon agents,
whether from above or below--and all the adventitious and effective
aid which mechanism lends to genius.

VII. Thus summoning before us the external character of the Athenian
drama, the vast audience, the unroofed and enormous theatre, the
actors themselves enlarged by art above the ordinary proportions of
men, the solemn and sacred subjects from which its form and spirit
were derived, we turn to Aeschylus, and behold at once the fitting
creator of its gr