. The Greek theater and its drama. Fig. II.—A Satyr upon a Wiirzburg Cylix of .\bout 500 p. 31. n. 6. Fig. 12.—A Comus upon a Berlin AmphoraSee p. 38, n. 2 INTRODUCTION ^^ Thespis all had their partisans. The last named is the one mostfrequently mentioned, and strictly speaking this view is more broadly considered, the question largely depends uponthe stage of development to which one is willing to apply theword tragedy. To many moderns, with almost two and ahalf millenniums of dramatic history as a background, Aeschylus Iwill seem the first tragic playwright. At least, in
. The Greek theater and its drama. Fig. II.—A Satyr upon a Wiirzburg Cylix of .\bout 500 p. 31. n. 6. Fig. 12.—A Comus upon a Berlin AmphoraSee p. 38, n. 2 INTRODUCTION ^^ Thespis all had their partisans. The last named is the one mostfrequently mentioned, and strictly speaking this view is more broadly considered, the question largely depends uponthe stage of development to which one is willing to apply theword tragedy. To many moderns, with almost two and ahalf millenniums of dramatic history as a background, Aeschylus Iwill seem the first tragic playwright. At least, in his handstragedy became for the first time real literature. ^ The foregoing treatment will show that I do not believe astudy of the origin of religion to be indispensable for a discussionof the origin of Greek tragedy. Prior to Arion and Epigenesthere was nothing which the most fanciful could recognize asakin to modern tragedy. After the work of Thespis and Aeschy-lus no one can fail to note its presence. To trace, so far as wemay, the gradual unfolding of the new genre from a state ofnonexistence to a
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