“Twelve ships from Salamis Aias commanded. He brought them and placed them there where Athenian squadrons were marshalled.” But perhaps the easiest solution of all questions in regard to interpolations in the Homeric poems is to pin our uncritical faith to the authenticity of Lucian’s interview with Homer in Elysium: “I went up to Homer the poet, when we were both at leisure, and after making other inquiries ... I asked him further about the rejected verses, whether they were written by him. And he declared that he wrote them all!” The greatest and most characteristically Attic contribution of the sixth century was the fostering of the drama, in connection with the worship of Dionysus. This Thracian divinity, on his journey southwards, had been welcomed in the villages of Attica, where vineyard and winepress awaited his blessing. The Pisistratidæ, who have been called “the providential defenders of the faith of Dionysus” against the aristocratic disdain felt for a peasant’s god, invited him to a new temple in the Lenæa—the Marshes—below the Acropolis, where, at the time of the winter solstice, the Feast of the Winepress once more identified the capital with the country it had outgrown. But Pisistratus went further in establishing the City Dionysia, a spring festival destined to a long life and splendid renown. Instead of private performances at rural feasts, the drama now became part of the official administration of the city. The first dated performance of a play by Thespis was in 534 B. C. This may have been on the occasion of the opening of the “orchestra,” north of the Areopagus, near the new Market-place, where the spectators henceforth found seats on wooden scaffolding until the more permanent theatre was erected south of the Acropolis. Athens was now ready for the great dramatists. The wine-god looms up as a rival to Athena, as may be seen by his ubiquity on the vase paintings and his dominant presence in the Attic calendar. “In the actual religious ritual Dionysus became of more importance at Athens than Zeus, Apollo, or even Athena.” Thus in diverse ways does Pisistratus present a fair claim for having made Athens greater, in steady progression from the wise policies of Solon. Solon himself must often have feared an excess of luxury and splendour. No one of his generation could have dreamed of a regretful modern desire to have seen, because of its charming simplicity, “the little earlier Athens of Pisistratus.” But many a Periclean Greek may have forestalled it. Aristophanes was forever seeking for a revival of— “the precepts which taught The heroes of old to be hardy and bold, and the men who at Marathon fought!”[6]