kites or Ahure in the Egyptian story waited kneeling and fasting for Nefrekepta's return.
Now if we consider what kind of emotion will specially call for this form of expression it is easy to see that it will be the sort that tends quickly to get beyond words: religious emotions of all kinds, helpless desire, ineffectual regret and all feelings about the past. When we think of the kind of ritual from which tragedy emerged, the lament for a dead god, we can see how well a dance was fitted, in primitive times, to express the emotions that we call tragic.
This dance gradually grew into drama; how it did so is an old story. Into the inarticulate mass of emotion and dumb show which is the Dance there comes some more articulate element. There comes some one who relates, or definitely enacts, the actual death or "pathos" of the hero, while the Chorus goes on as before expressing emotion about it. This emotion, it is easy to see, may be quite different from that felt by the Hero. There is implied in the contemplation of any great deed this ultimate emotion, which is not as a rule felt by the actual doers of it, and is not, at its highest power, to be expressed by the ordinary language of dialogue. The dramatist
