laid
in Persia, the materials of the work are derived from his own
philosophical notions and the usages of Sparta engrafted on the
popularly current stories respecting Cyrus. Xenophon displays in this
work his dislike of democratic institutions like those of Athens, and
his preference for an aristocracy, or even a monarchy. Xenophon was
also the author of several minor works; but the only other treatise
which we need mention is the MEMORABILIA of Socrates, in four books,
intended as a defence of his master against the charges which
occasioned his death, and which undoubtedly contains a genuine picture
of Socrates and his philosophy. The genius of Xenophon was not of the
highest order; it was practical rather than speculative; but he is
distinguished for his good sense, his moderate views, his humane
temper, and his earnest piety.

The DRAMA pre-eminently distinguished Athenian literature. The
democracy demanded a literature of a popular kind, the vivacity of the
people a literature that made a lively impression; and both these
conditions were fulfilled by the drama. But though brought to
perfection among the Athenians, tragedy and comedy, in their rude and
early origin, were Dorian inventions. Both arose out of the worship of
Dionysus. There was at first but little distinction between these two
species of the drama, except that comedy belonged more to the rural
celebration of the Dionysiac festivals, and tragedy to that in cities.
The name of TRAGEDY was far from signifying any thing mournful, being
derived from the goat-like appearance of those who, disguised as
Satyrs, performed the old Dionysiac songs and dances. In like manner,
COMEDY was called after the song of the band of revellers who
celebrated the vintage festivals of Dionysus, and vented the rude
merriment inspired by the occasion in jibes and extempore witticisms
levelled at the spectators. Tragedy, in its more perfect form, was the
offspring of the dithyrambic odes with which that worship was
celebrated. These were not always of a joyous cast. Some of them
expressed the sufferings of Dionysus; and it was from this more
mournful species of dithyramb that tragedy, properly so called, arose.
The dithyrambic odes formed a kind of lyrical tragedy, and were sung by
a chorus of fifty men, dancing round the altar of Dionysus. The
improvements in the dithyramb were introduced by Arion at Corinth; and
it was chiefly among the Dorian states of the Pelopo