is not only that, like the mediæval plays, Greek tragedy was religious; that it was developed out of a definite ritual; not even that the most marked links of historical continuity can be traced between the death-and-resurrection ritual of certain Pagan "saviours" and those of the mediæval drama. It is that the ritual on which tragedy was based embodied the most fundamental Greek conceptions of life and fate, of law and sin and punishment.
When we say that tragedy originated in a dance, ritual or magical, intended to represent the death of the vegetation this year and its coming return in triumph next year, the above remarks may seem hard to justify. But we must remember several things. First, a dance was in ancient times essentially religious, not a mere capering with the feet but an attempt to express with every limb and and sinew of the body those emotions for which words, especially the words of simple and unlettered men, are inadequate (see p. 229). Again, vegetation is to us an abstract common noun; to the ancient it was a personal being, not "it" but "He." His death was as our own deaths, and his re-birth a thing to be anxiously sought with prayers and dances.
