and song by recitation. Originally, the subject of the recitation would be some adventure of Dionysus. But as early as about 600 B.C. it would appear that themes might be taken from the legends of the heroes, while the choral dance and song were still purely Dionysiac. It does not seem that any other god was ever made the subject of the recitation; a fact which illustrates the peculiar character of Dionysus, as noticed above. (2) The second step is that attributed to Thespis, when the reciter was no longer merely one of the dancers, but was made a person distinct from them, and in a manner contrasted with them; one who replied to their dance and song with his recitation, and was thence called the answerer, ὑποκριτής. This change would naturally lead to a higher organisation of the performance. The Chorus still remained the essential and dominant element. But the part of the reciter would now be adjusted to the choral parts in such a way as to give unity to the whole. We may suppose, too, that the choral songs, while continuing to make Dionysus prominent, were no longer restricted to that theme, but might refer also to the subject of the recitation. And the reciter doubtless used imitative action. Such a performance contained at least the germ of drama proper; and that name was perhaps already given to it. The word δρᾶμα, as describing a composition, occurs first in Herod. 6. 21, with reference to the piece by Phrynichus, called "The Capture of Miletus". Miletus was taken in 494 B.C., and the play cannot
