Though an Athenian audience had no objection, when comedy was played, to scenes which we should have supposed likely to strike them as blasphemous, they bitterly objected to any breach of orthodoxy in tragic drama. Æschylus once narrowly escaped death because it was thought that a passage in his play constituted a revelation of the mysteries. Euripides,[203] too, incurred great trouble owing to the opening lines of _Melanippe the Wise_. Approval and dislike were freely expressed. If the spectators admired a passage, shouts and clapping showed it: at times they would “encore” a speech or song with the exclamation αὖθις (“again”). Still more often do we hear of their proneness to “damn” a bad play. Hissing[204] was common, and there was a special custom at Athens of kicking with the heels upon the benches to express disapproval—a method which must have been effective in the time of wooden seats. Playwrights were known to take vigorous means to win favour. That distinguished writer of New Comedy, Philemon, is said to have defeated Menander himself by securing a large attendance of supporters to applaud his work, and it is certain that writers of the Old Comedy frequently directed their actors to throw nuts and similar offerings among the audience. In the _Peace_ of Aristophanes barley was thus distributed. The spectators sometimes replied in kind. Bad performers were pelted with fruit, at any rate in the country, and even stones were used in extreme cases. The celebrated Æschines, during his career as a strolling tritagonist, was nearly stoned to death by his public.[205] But the fruit was generally used in the city itself for another purpose. Aristotle illustrates a detail of psychology by pointing to the fact that “in the theatre people who eat dessert do so with most abandon when the performers are bad”.[206] CHAPTER III THE WORKS OF ÆSCHYLUS The place of Æschylus in dramatic history has been discussed in the first chapter. We have still to give some account of his seven extant plays and of the fragments.