_Rise of tragedy_.--The other phenomenon referred to above as marking the close of this period was the rise of tragedy. The question of its influence on the whole popular religion belongs to the history of the fifth century. What concerns us chiefly at this point is its close association with Dionysos-cult. The traditional view that it actually originated in some {91} mimetic form of Bacchic ritual is in the opinion of the present writer still the most reasonable, although this is now denied by some scholars.[91.1] But even if its connection with Dionysos-worship is a secondary or accidental fact, it is still a fact of importance for the history of Greek polytheism. The records concerning Thespis of the Attic village Ikaria, a place dominated by ancient Dionysiac legend, the statement of Herodotus concerning Kleisthenes, the tyrant of Sikyon, who gave to Dionysos the tragic choruses that hitherto had been devoted to the hero-cult of Adrastos, are sufficient proofs that this greatest of all the literary achievements of post-Homeric Hellas was dedicated to the God already in the sixth century; and throughout the glorious career of the Attic stage Dionysos remained its patron-God. His worship, then, must have received a strong stimulus from this new form of literature which rapidly achieved popularity and appealed directly to a larger public than the other. And his character thus undergoes a singular transformation; the wild God of barbaric origin comes to take rank by the side of Apollo and the Graces as a divinity of culture and education, the inspirer of one of the greatest of Hellenic arts. Here again, as in the cults of Apollo, Athena and the Muses, we mark the characteristically Hellenic fusion of art and religion; and the history of the dithyramb, the Dionysiac hymn which may have been the parent of the drama and which was wedded to a peculiar mode of music and rhythm, is an important chapter in the history of European music. CHAPTER IV. THE THIRD PERIOD, 500-338 B.C. {92}