As concerns the mass of the people, it is probable that the Homeric notions respecting the state of the dead still prevailed. Generally speaking, we are not warranted in ascribing the more elevated views of religion entertained by the best minds to the mass of the people. THE TRAGIC DRAMA.--The songs which were sung in the worship of Dionysus (dithyrambs) were accompanied with dance and pantomime. The custom followed of mingling speeches and dramatic action with these lyrics. The change is ascribed to _Thespis_ (about 536 B.C.), a little later than Solon. Thespis is said to have brought in the stage for the performers. The Greek theaters were large, open to the sky, and sometimes on sites which commanded fine views. There was the amphitheater, with graded seats for spectators, and the stage, together with the orchestra where the choir in song or musical recitation reflected the sympathies and views of the spectators of the play. At first there was only one actor, and, of course, a monologue. _Aeschylus_ is said to have brought in a second actor, and _Sophocles_ a third. These, with _Euripides_, were the three great dramatists of Greece. The choral song, which had been the chief thing, was made secondary to the dialogue. Aeschylus, at the age of forty-five, fought in the battle of Salamis; Sophocles, then fifteen years old, took part in the festival in honor of the victory; and Euripides was born, it was supposed, on the very day of the battle. These three brought the tragic drama to perfection. Of the productions of Aeschylus (525-456 B.C.), seven remain. They are inspired with the heroic and elevated mood which was engendered by the great struggle against the Persians. Of the numerous plays of Sophocles (495-406 B.C.), the number of those extant is also seven. They so combine vigor and force with refinement of thought and style that they are surpassed, if indeed they are equaled, by the literary products of no age or country. In Euripides (480-406 B.C.), while there is an insight into the workings of the heart, and the antique nobleness of sentiment, there is less simplicity, and there is manifest the less earnest and believing tone of the later day. In the dramas, the "unities" of time, place, and action are observed. The acts together seldom stretch over a single day.