was situated, both land and sea. The actor apostrophized no mimic
pasteboard, but the wide expanse of Nature herself--the living sun,
the mountain air, the wide and visible Aegaean. All was proportioned
to the gigantic scale of the theatre, and the mighty range of the
audience. The form was artificially enlarged and heightened; masks of
exquisite art and beauty brought before the audience the ideal images
of their sculptured gods and heroes, while (most probably) mechanical
inventions carried the tones of the voice throughout the various tiers
of the theatre. The exhibitions took place in the open day, and the
limited length of the plays permitted the performance of probably no
less than ten or twelve before the setting of the sun. The sanctity
of their origin, and the mythological nature of their stories, added
something of religious solemnity to these spectacles, which were
opened by ceremonial sacrifice. Dramatic exhibitions, at least for a
considerable period, were not, as with us, made hackneyed by constant
repetition. They were as rare in their recurrence as they were
imposing in their effect; nor was a drama, whether tragic or comic,
that had gained the prize, permitted a second time to be exhibited. A
special exemption was made in favour of Aeschylus, afterward extended
to Sophocles and Euripides. The general rule was necessarily
stimulant of renewed and unceasing exertion, and was, perhaps, the
principal cause of the almost miraculous fertility of the Athenian
dramatists.

VI. On the lower benches of the semicircle sat the archons and
magistrates, the senators and priests; while apart, but in seats
equally honoured, the gaze of the audience was attracted, from time to
time, to the illustrious strangers whom the fame of their poets and
their city had brought to the Dionysia of the Athenians. The youths
and women [18] had their separate divisions; the rest of the audience