rather, tragedy was the complete development, the new and perfected
consummation, of the dithyrambic ode. Lyrical poetry transmigrated
into the choral song as the epic merged into the dialogue and
plot of the drama. Thus, when we speak of Athenian poetry we
speak of dramatic poetry--they were one and the same. In Athens,
where audiences were numerous and readers few, every man who
felt within himself the inspiration of the poet would necessarily
desire to see his poetry put into action--assisted with all the
pomp of spectacle and music, hallowed by the solemnity of a
religious festival, and breathed by artists elaborately trained
to heighten the eloquence of words into the reverent ear of
assembled Greece. Hence the multitude of dramatic poets; hence
the mighty fertility of each; hence the life and activity of
this--the comparative torpor and barrenness of every other--
species of poetry."


1. TRAGEDY.

MELPOM'ENE, one of the nine Muses, whose name signifies "To
represent in song," is said to have been the inventress of tragedy,
over which she presided, always veiled, bearing in one hand the
lyre, as the emblem of her vocation, and in the other a tragic
mask. As queen of the lyre, every poet was supposed to proclaim
the marvels of her song, and to invoke her aid.

Queen of the lyre, in thy retreat
The fairest flowers of Pindus glow,
The vine aspires to crown thy seat,
And myrtles round thy laurel grow: