(_b_) “Reversal (or Recoil, Peripeteia) is a change by which a train of action produces the opposite of the effect intended, subject always to our rule of probability or necessity. Thus in the Œdipus, the messenger comes to cheer Œdipus and free him from his alarms about his mother, but, by revealing who he is, he produces the opposite effect.”[147] Much might be written on this analysis of dramatic structure. One remark at least must be made. It is not plain how much importance Aristotle allots to the Recoil or Peripeteia. We have seen that he did not regard it as indispensable. At the most he seems to think it a striking way of starting the _dénouement_. It is better to look upon it, and the action which leads up to it, as a separate part of the drama—and it may be argued that every tragedy, if not every comedy, has a Peripeteia—to form, in fact, that middle stage which elsewhere[148] in the _Poetic_ he mentions as necessary. CHAPTER II THE GREEK THEATRE AND THE PRODUCTION OF PLAYS I. THE OCCASIONS OF PERFORMANCE Greek drama was looked upon not only as a form of entertainment and culture, but as an act of worship offered to the god Dionysus. It was, in consequence, restricted to his festivals; performances of a quite secular character are unknown. Three Attic festivals are connected with the tragic drama: the City Dionysia, the Lenæa, the Rural Dionysia. The City or Great Dionysia were the most splendid of the three, held in the precinct of Dionysus Eleuthereus on the south-eastern slope of the Acropolis, where the ruined theatre still lies. Tragedies, comedies, and dithyrambs were performed, but of these tragedy was the most important. The time was the month of Elaphebolion (March to April). The Lenæa or “Wine-Press Festival” which occurred in Gamelion (January to February) was the great occasion for comedy, though tragedies were also to be seen. It was held at first in the Lenæon, a sacred enclosure, the site of which is still uncertain, later in the same theatre as tragedy. The Rural Dionysia fell in Poseideon (December to January), and were celebrated by the various Attic townships, especially the Peiræus; most of the dramas performed were probably such as had been successful in Athens itself; companies of actors travelled about the country for this purpose. Of these three celebrations the City Dionysia were the most important for tragedy. The tyrant Pisistratus greatly increased the splendour of this festival and instituted the tragic contest. Each year during the fifth century three tragedians submitted each a tetralogy, and five comedians one play apiece. Tragedies were given in the mornings, comedies in the afternoon, and the celebration continued for at least five days. II. THE BUILDINGS