and serious character, intermixed with episodes of mythological
story recited by an actor, were sung by a chorus that danced
around the altar. A goat was either the principal sacrifice on
these occasions, or the participants, disguised as Satyrs, had
a goat-like appearance; and from the two Greek words representing
"goat" and "song" we get our word tragedy, [Footnote: From the
Greek tragos, "a goat," and o'de, "a song."] or goat-song. At
some of the more rustic festivals in honor of the same god the
performance was of a more jocose or satirical character; and
hence arose the term comedy, [Footnote: From the Greek ko'me,
"a village," and o'de, "a song."] from the two Greek words
signifying "village" and "song"--village-song. In the teller of
mythological legends we find the first germ of dialogue, as the
chorus soon came to assist him by occasional question and remark.
This feature was introduced by Thespis, a native of Ica'ria,
in 535 B.C., under whose direction, and that of Phryn'icus, his
pupil, the first feeble rudiments of the drama were established.
In this condition it was found by AEschylus, in 500 B.C., who
brought a second actor upon the scene; whence arose the increased
prominence of the dialogue, and the limitation and subsidiary
character of the chorus. AEschylus also added more expressive
masks, and various machinery and scenes calculated to improve
and enlarge dramatic representation. Of the effect of this new
creation upon all kinds of poetical genius we have the following
fine illustration from the pen of BULWER:

"It was in the very nature of the Athenian drama that, when once
established, it should concentrate and absorb almost every variety
of poetical genius. The old lyrical poetry, never much cultivated
in Athens, ceased in a great measure when tragedy arose; or,