In Greece, as in Egypt,—possibly derived thence,—the earliest theatre and drama were religious and secret. In the Bacchic and Eleusinian and other mysteries, the incarnation, penance, death, and resurrection of some god were represented, and in connection with the spectacle various religious and philosophical doctrines were taught in symbolic shows. Every art of influencing the imagination and the senses was here employed,—the imposing forms and gestures of the hierophant and his helpers impersonating the demiurgus and his train,—light and darkness, colors, strange noises, music, incantations, rhythmic processions, enchanting and maddening dances. But, as there was in Greece no distinct priesthood separate from the rulers and leaders of the state, the intense interest and power of this mode of impression could not remain sequestered from the people and confined to a few sacred legends. The great freedom and restless intelligence and critical personal emulation of the Greeks soon brought forth from its seclusion this fascinating and peerless method of teaching, planted it on an open stage, applied it to sacred and political subjects, to character and experience, and gave the world the first public theatre of the people. Still retaining in its best examples its original religious dignity and solemnity, it added many other qualities, developed comedy alongside of tragedy, and in its combination of ideal and satirical types and manners rendered the stage a mirror for the mimic reflection of the real scenes of human life. Thus it escaped from privacy and priestly management into publicity under the direction of a literary and political class. It was wielded for the threefold purpose of moral and religious impression, of social or party influence, and of displaying various styles of character and behavior for popular amusement and edification. In Rome the drama was modified and varied in some particulars from its Greek model, but no new feature was added. It nearly lost its religious quality, became more exclusively social and sensational, extended its range only to profane and degrade it into the barbarity of the circus and the arena. The Greek poet dealing with the simulated woes of the soul was displaced by the Roman gladiator dealing in the real agonies of the body, and the supernal beauty of classic tragedy expired in the applauded horrors of butchery.