The Dorians claimed the credit of having invented both tragedy and comedy.[6] There seems little doubt that they provided the germ, though the glories of Greek drama belong to Athens. Arion, whose contribution has been described, if not himself a Dorian, worked among Dorians at Corinth, which Pindar,[7] for example, recognized as the birthplace of the dithyramb. Moreover the lyrics of purely Attic tragedy show in their language what is generally regarded as a slight Doric colouring.[8] Aristotle[9] sums up the rise of tragedy as follows: “Tragedy ... was at first mere improvization ... originating with the leaders of the dithyramb. It advanced by slow degrees; each new element that showed itself was in turn developed. Having passed through many stages, it found its natural form, and there it stopped. Æschylus first introduced a second actor; he diminished the importance of the chorus, and assigned the leading part to the dialogue. Sophocles raised the number of actors to three, and added scene-painting. It was not till late that the short plot was discarded for one of greater compass, and the grotesque diction of the earlier satyric form for the stately manner of tragedy. The iambic measure then replaced the trochaic tetrameter, which was originally employed when the poetry was of the satyric order, and had greater affinities with dancing.... The number of ‘episodes’ or acts was also increased, and the other embellishments added, of which tradition tells.” We have but meagre knowledge of the drama before Æschylus, whose vast achievement so overshadowed his predecessors that their works were little read and have in consequence practically vanished. Tragedy was born at the moment when, as tradition relates, THESPIS of Icaria in Attica introduced the actor. Arion, as we saw, had already caused one of the chorus to mount upon the sacrificial table or the step of the altar and deliver a narrative, or converse with his fellow-choristers, concerning Dionysus, using not lyrical metre, but the trochaic tetrameter.[10] Thespis’ great advance was to introduce a person who should actually present the character to whom Arion’s chorister had merely made allusion: the action, instead of being reported, went on before the eyes of the audience. This change clearly at once begets the possibility of drama, however rudimentary. By retiring to the booth while the singers perform their lyric, he can change his mask and costume and reappear as another person; by learning and discussing what has been said by his supposed predecessor, he can exhibit the play of emotion or the construction of a plan.