It is stated by Aristotle, that tragedy originated with the chief singers of the dithyramb. It is probable that they represented Bacchus himself or his messengers, that they came forward and narrated his perils and escapes, and that the chorus then expressed their feeling, as at passing events. The chorus thus naturally assumed the character of satellites of Bacchus, whence they easily fell into the parts of satyrs, who were his companions in sportive adventures, as well as in combats and misfortunes. The name of tragedy, or goat's song, was derived from the resemblance of the singers, in their character of satyrs, to goats. Thus far tragedy had advanced among the Dorians, who, therefore, considered themselves the inventors of it. All its further development belongs to the Athenians. In the time of Pisistratus, Thespis (506 B.C.) first caused tragedy to become a drama, though a very simple one. He connected with the choral representation a regular dialogue, by joining one person to the chorus who was the _first actor_. He introduced linen masks, and thus the one actor might appear in several characters. In the drama of Thespis we find the satyric drama confounded with tragedy, and the persons of the chorus frequently representing satyrs. The dances of the chorus were still a principal part of the performance; the ancient tragedians, in general, were teachers of dancing, as well as poets and musicians. In Phrynichus (fl. 512 B.C.) the lyric predominated over the dramatic element. Like Thespis, he had only one actor, but he used this actor for different characters, and he was the first who brought female parts upon the stage, which, according to the manners of the ancients, could be acted only by men. In several instances it is remarkable that Phrynichus deviated from mythical subjects to those taken from contemporary history. 3. TRAGEDY.--The tragedy of antiquity was entirely different from that which, in progress of time, arose among other nations; a picture of human life, agitated by the passions, and corresponding as accurately as possible to its original in all its features. Ancient tragedy departs entirely from ordinary life; its character is in the highest degree ideal, and its development necessary, and essentially directed by the fate to which gods and men were subjected. As tragedy and dramatic exhibitions, generally, were seen only at the festivals of Bacchus, they retained a sort of Bacchic coloring, and the extraordinary excitement of all minds at these festivals, by raising them above the tone of every-day existence, gave both to the tragic and comic muse unwonted energy and fire.