The added interest incident to the fresh improvisations of the leader in this form of choral song presently opened toward a lyric drama. Thespis is credited with having been the first to place the leader upon a centrally located stage where he could be plainly seen and heard by all concerned. Now the recitations became more dramatic, the choruses more varied. The speaker illustrated by gestures the acts which he described; he varied his style of delivery according to the feeling appropriate to the incidents represented. The chorus meanwhile was not upon the stage, but in a central location below, and during their strophes they circled around the platform of the leader in a sort of mystic dance, each man accompanying himself upon his cithara. From this to adding a second speaker to the one already upon the stage was but a short step. It was taken, and the result was a drama with a chorus in connection. In the earlier plays the speakers represented as many characters as necessary for carrying out the action. Later they changed costume to some extent, the chorus meanwhile occupying the time with their own songs, which generally had the character of a comment upon the action as developed at the moment. The changes of costume were extremely slight, merely a different head dress, a mantle or some slight modification of appearance more or less symbolical in character. All the dialogue was delivered in a musical voice, and, it is thought, all accompanied by the cithara, which every player carried in his hand. The instrument was sometimes played all the time, in the same notes as those of the song or chant; at other, times the speaker employed it for ritournelles, for affording breathing time or points of emphasis. Once in a great while, it is thought, the instrument had a note different from that of the song in connection with it. Upon this point great uncertainty prevails.