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208 the first time in their works. A mutilated inscription seems to give us the date of some important alteration or ratification of stage arrangements. It admitted Comedy to the great Dionysia; it perhaps established the 'three actors,' perhaps raised the tragic chorus from twelve to fifteen, and perhaps made the palace-front scene a permanency. The poets tended naturally to retire from acting. Æschylus ceased in his later life. Sophocles is said to have found his voice too weak. The profession of actor must have been established before 456, when we first find the victorious actors mentioned officially along with the poet and the 'chorêgus.'

The chorus was the main substance of the tragedy. Two main processes were needed to make a complete performance: the 'chorêgus' 'provided a chorus,' the poet 'taught the chorus'—those were the difficult things. The mere composition was a matter of detail, which any good poet was ready to do for you. All the technical terms are formed with reference to the chorus. The 'prologue' is all that comes before their entrance; an 'episodion' is the 'entry to' the chorus of any fresh character; the close of the play is an 'exodus,' because they then depart. But the chorus was doomed to dwindle as tragedy grew. Dialogue is the essence of drama; and the dialogue soon became, in Aristotle's phrase, 'the protagonist.' We can see it developing even in our scanty remains. It moves from declaimed poetry to dramatic speech; it grows less grand and stiff, more rapid and conversational. It also increases in extent. In the Suppliants of Æschylus (before 470 ) the chorus are really the heroines of the