The fragments which remain of Alcman’s verses do not justify the immense fame which he seems to have enjoyed in Greece. Alcman was preceded by Thaletas of Crete, who was sent for by the Spartans 620 B. C. to sing to the Gods, in order that Sparta might be freed from a severe plague, which was then ravaging the state. The plague ceased, and Thaletas for a time stood at the head of all Spartan music. That country as above mentioned, either would not, or could not encourage home talent. Sacadas of Argos came soon after with a yet more luxurious style, and introduced the flute as an accompaniment to chorus music. To this foggy period of history, also belongs Tisias of Himera, who made an indelible impression on Greek music. He was the first who regulated the motions of the chorus, and who reduced chorus singing to a settled system; from the fact that at one period of the song, (the _epode_, or _finale_) he made the chorus stand quiet, instead of dancing he received the nickname of “Stesichorus.” In some of the works of Stesichorus, one can easily see the germ of the choruses of Æschylus or Sophocles.[26] If in the ancient Grecian music, the composer, poet, and performer seem to be spoken of in common, the reader must recollect that in those days, _all three_ branches of the art were united in one individual. It will also aid some readers, if we define here what the functions of the Greek chorus were. In the earliest days, the whole chorus simply sang refrains after the solo of some cultivated singer; gradually whole compositions were entrusted to their charge. Pantomimic action probably always existed in connection with their songs, as with almost all ancient singing. Stesichorus first gave them different historical or mythological subjects to act, in a dramatic manner. At a later epoch the chorus entered in a peculiar manner into the action of the drama. They stood upon the stage as interested spectators of the various events; they advised the Protagonist or only individual character[27] as to his course of action, and when some startling incident, a murder for example, had taken place, they would strongly express their feelings, horror, dismay or fear, and thereby intensify the effect upon the audience. An imitation of the Greek chorus may be found in Schiller’s “Bride of Messina.”