dialogue independent of the chorus; but to anything like the modern system, of many parts, each supported by a separate actor, the Greek tragedy never attained. Three is the largest number of actors employed in any of the plays of Æschylus; so that, although each took more than one part in succession, there could never be more than three speaking characters upon the stage at once, except when, as was often the case, the chorus took part in the action.
The chorus of Thespis had danced upon a raised platform, in the midst of which stood the altar of the god; the introduction of a second actor made an increase of space and means of entrance and exit necessary, and thus the platform grew into the stage. In course of time a separate place was made for the chorus, and called the orchestra, or dancing stage, while the stage proper was left for the actors, and for the chorus when it assumed an actor's part. Further, as there were now two actors exhibiting a story by means of dialogue, each naturally presented a different hero or deity; to make this assumption of character more effective, masks were introduced, and before long great perfection was arrived at in their construction.
From the very first, as we have seen, these choric songs were produced at annual contests during the spring festival of the god of wine; and the same custom was continued when the dialogue had been added to the chorus, and the now developed dramas were presented in succession to compete for an annual prize. Having its origin in the country villages of Attica, this form of poetic contest found its centre in Athens, and the
