Page:Popular Science Monthly Volume 47.djvu/456

442 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 Mahaffy, who says:—

"We hear in the days of the Ptolemies about 250 of a regular symphony at a Delphic feast, in which the contest of Apollo and the Python was represented in fiyefive [sic] movements with the aid of flutes (or rather clarinettes, αν̀λοί), harps, and fifes without singing or libretto."

Clearly this incident, which while mainly showing the development of instrumental music, shows also the kind of theme chosen. But when we come to the comedies of Aristophanes we see a complete 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 everywhere); 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 364 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 canticum."