Among the many institutions which contributed to that polished civilization which was the glory of ancient Greece, none were higher in aspirations, or more prolific in results, than the Tragedies and Comedies which were at certain intervals presented in the Theatre at Athens. The Athenians were by this agency, brought to a cultivated discrimination in music and poetry, and as we shall see later, the choruses being chosen from the body of the people, and demanding an amount of musical ability in the members, caused the study of music to become almost a necessity to all.[47] In its early days the Drama, (if it be worthy of the name,) must have been a mere masquerading on any raised platform. It had its origin in the festivities of Dionysius (Bacchus), for at the earliest Dionysian festivals, the populace smeared their faces in wine lees, and thus disguised, sang choruses in honor of this god of mirth. In later times, linen masks were substituted, but only in the days of Thespis, did the art assume some regular shape. Comedy may be said to have arisen about 562 B. C., when Susarion and Dolon travelled around, caricaturing the vices and follies of their time, from a rude scaffold. The first Tragedy was acted in Athens, by Thespis, from a wagon, in the year 535 B. C. In the same year Thespis received a goat as reward for playing “Alcestis” at Athens. Goats were frequently given as rewards for this kind of composition, and the word Tragedy is derived by some, from the words Tragos, a goat, Odé, a song, literally a “goat-song.” The earliest attempt at dramatic action, with a plot, or incident to give it connection, was the representation of the gift of the grape to mankind, by Dionysius; this required three _dramatis personae_, therefore Thespis changed his linen mask three times. Solon was not well pleased with the new art; striking his stick upon the ground he said: “If this sort of thing were allowed and praised, it would soon be found in the market-place;” and to Thespis who was singing a recitation in the character which he was acting, he said: “Are you not ashamed to lie so?” Solon had probably forgotten that when he aroused the Athenians to the reconquest of Salamis, he had assumed the character of a herald from the island. Solon had predicted right however, the drama became the most cherished institution of Greece; even in its earliest stages, the state fostered it, and it always attracted the peons for it was both a religious, and popular enjoyment. The sons of Pisistratus did much in these days to encourage and stimulate it. They arranged contests, rewards, etc., with profusion.