Athens possessed a man of true genius, whose attention early
circumstances had directed to a rude and primitive order of histrionic
recitation:--Phrynichus, the poet, was a disciple of Thespis, the
mime: to him belongs this honour, that out of the elements of the
broadest farce he conceived the first grand combinations of the tragic
drama.

II. From time immemorial--as far back, perhaps, as the grove
possessed an altar, and the waters supplied a reed for the pastoral
pipe--Poetry and Music had been dedicated to the worship of the gods
of Greece. At the appointed season of festival to each several deity,
his praises were sung, his traditionary achievements were recited.
One of the divinities last introduced into Greece--the mystic and
enigmatical Dionysos, or Bacchus, received the popular and
enthusiastic adoration naturally due to the God of the Vineyard, and
the "Unbinder of galling cares." His festival, celebrated at the most
joyous of agricultural seasons [7], was associated also with the most
exhilarating associations. Dithyrambs, or wild and exulting songs, at
first extemporaneous, celebrated the triumphs of the god. By degrees,
the rude hymn swelled into prepared and artful measures, performed by
a chorus that danced circling round the altar; and the dithyramb
assumed a lofty and solemn strain, adapted to the sanctity of
sacrifice and the emblematic majesty of the god. At the same time,
another band (connected with the Phallic procession, which, however
outwardly obscene, betokened only, at its origin, the symbol of
fertility, and betrays the philosophy of some alien and eastern creed
[8]) implored in more lively and homely strains the blessing of the
prodigal and jovial deity. These ceremonial songs received a wanton
and wild addition, as, in order, perhaps, more closely to represent
and personify the motley march of the Liber Pater, the chorus-singers