The tragedies of Thespis which he both wrote and acted himself, had but one performer, who, rapidly changing his mask, assumed various different characters in the play. The monotony was soon felt, and in order that dialogues might be used, a chorus was introduced, and then much of the action consisted of duets between the solitary performer, or _protagonist_, and the chorus. Phrynicus, a few years later, allowed this single actor to take both male and female characters; but the first thorough representation of tragedy, with its properties carefully attended to, is due to the great tragic poet Æschylus, who instructed the actor and the chorus carefully, and gave attention to thoroughness in its every department so far as then known. The platform and auditorium were still uncouth wooden structures, until a poetical contest took place between Phrynicus and others, when the benches were so crowded that the whole structure gave way and many were injured; after this the theatres were built of stone. The performances were still regarded as belonging to religious rites; the seats were at first built in a semi-circle around the altar of Dionysius, and the theatre never became, as with us, an every-day matter, but was only used at certain Dionysian festivals, which occurred about three times each year. Æschylus aimed very much at the terrible in his tragedies, and the poets of this era never sought to “hold the mirror up to nature,” but rather to represent something awe-inspiring and supernatural; therefore the actors had to prepare themselves in many peculiar ways for the stage. The characters of tragedy were represented as much larger than human beings; to effect this the tragedian wore a kind of stilt-shoes with very high heels, called _cothurne_, padded out his body in proportion to his height, lengthened his arms by adding an artificial hand, and wore a mask of large size, over his face. The stage upon which he appeared, was also elevated above that on which the chorus stood, and the latter not being artificially enlarged, must have appeared as pigmies, beside these gigantic heroes. The voice was pitched in a style corresponding to the magnitude of the body; it has been suggested[48] that the large tragic mask may have concealed some contrivance for strengthening the voice; however this may be, it is certain that the voice of the tragedian needed to be metallic, solemn and majestic, and that this, though partly a natural gift, had to be strengthened by long and severe practice, and a vast amount of physical strength was also required to move about naturally when so extremely bundled up.