satyric chorus by introducing, usually in his own person, a histrionic
tale-teller, who, from an elevated platform, and with the lively
gesticulations common still to the popular narrators of romance on the
Mole of Naples, or in the bazars of the East, entertain the audience
with some mythological legend. It was so clear that during this
recital the chorus remained unnecessarily idle and superfluous, that
the next improvement was as natural in itself, as it was important in
its consequences. This was to make the chorus assist the narrator by
occasional question or remark.

The choruses themselves were improved in their professional art by
Thespis. He invented dances, which for centuries, retained their
popularity on the stage, and is said to have given histrionic disguise
to his reciter--at first, by the application of pigments to the face;
and afterward, by the construction of a rude linen mask.

III. These improvements, chiefly mechanical, form the boundary to the
achievements of Thespis. He did much to create a stage--little to
create tragedy, in the proper acceptation of the word. His
performances were still of a ludicrous and homely character, and much
more akin to the comic than the tragic. Of that which makes the
essence of the solemn drama of Athens--its stately plot, its gigantic
images, its prodigal and sumptuous poetry, Thespis was not in any way
the inventor. But PHRYNICHUS, the disciple of Thespis, was a poet; he
saw, though perhaps dimly and imperfectly, the new career opened to
the art, and he may be said to have breathed the immortal spirit into
the mere mechanical forms, when he introduced poetry into the bursts
of the chorus and the monologue of the actor. Whatever else
Phrynichus effected is uncertain. The developed plot--the
introduction of regular dialogue through the medium of a second actor