442 THE POPULAR SCIENCE MONTHLY. 



the above extract from Grote, we are shown that a leading actor 

 gave oral directions to subordinate actors ; and in doing this he 

 assumed to some extent the character of dramatist. Before the 

 rise of a written literature no greater distinction could be made ; 

 but after written literature arose, the dramatist proper became 

 possible. Still, it is to be observed that in the productions of the 

 great dramatic writers of Greece, the original relations continued 

 to be shown. As Moulton remarks : 



" Tragedy never ceased to be a solemn religious and national festival, 

 celebrated in a building which was regarded as the temple of Dionysus, 

 whose altar was the most prominent object in the orchestra." 

 And the subject-matter continued in late days as in early days to 

 be, in chief measure, the doings of the gods. An illustration is 

 furnished by Mahaff y, who says : 



"We hear in the days of the Ptolemies about 250 B. c, of a regular 

 symphony at a Delphic feast, in which the contest of Apollo and the 

 Python was represented in fiye movements with the aid of flutes (or rather 

 clarinettes, avXoi), harps, and fifes without singing or libretto." 

 Clearly this incident, which while mainly showing the develop- 

 ment of instrumental music, shows also the kind of theme chosen. 

 But when we come to the comedies of Aristophanes we see a com- 

 plete secularization. 



Partly because, as pointed out above in following the genesis 

 of the poet, so much of Roman civilization was not indigenous 

 but foreign, and partly because Roman life, entirely militant, led 

 to a contempt for all non-militant occupations (as happens every- 

 where) ; the rise of the dramatist in Rome is indefinite. Still we 

 find indications akin to the foregoing. Duruy, in agreement with 

 Guhl and Koner, writes that 



In 36.4 during a pestilence the Romans applied to the Etruscans who 

 " replied that the gods would be satisfied if they were honored by scenic 

 games, and, that the Romans might be able to celebrate these games, they 

 sent them at the same time actors, who executed religious dances to the 

 sound of the flute . . . the pestilence then ended." 

 And he goes on to say that 



"Young Romans learnt the dances introduced from Etruria, and 

 marked the rhythm of them by songs, often improvised, which ended by 

 being accompanied with action. Roman comedy was discovered." 

 In Rome as in Greece an idea of sacredness long attached to the 

 drama. "'Varo,' says St. Augustine, 'ranks theatrical things 

 with things divine.'" This conception of sacredness, however, 

 was congruous with their conceptions of the gods, and widely 

 different from sacredness as understood by us. 



' The subjects of the pantomime were taken from the myths of gods and 

 heroes, the actor having to represent male and female characters by turns, 

 while a choir, accompanied by flute-players, sang the corresponding can- 

 ticum." 



