§ 1. _General Character of the Contests._ The Attic drama, like most ancient forms of art and poetry, was originally the offspring of religious enthusiasm. It was developed out of the songs and dances in honour of Dionysus, the god of wine and vegetation. In course of time, as it assumed a regular dramatic shape, its range of subject was extended far beyond the limits of the Bacchic mythology. Its religious significance was also gradually diminished, and it began to be written more and more from the purely human point of view. But in spite of these changes, its outward connexion with the Bacchic worship was preserved unimpaired throughout the whole period of its history. Dramatic representations at Athens were confined, from first to last, to the great festivals of Dionysus. They were regarded as a religious ceremonial, as an act of homage to the god. They never became, as with us, an ordinary amusement of everyday life. During the greater part of the year the Athenians had to be content with other forms of entertainment. It was only when the annual festivals of Dionysus came round that they were able to gratify their passion for the stage. On such occasions their eagerness and enthusiasm were proportionately great. The whole city kept holiday, and gave itself up to pleasure, and to the worship of the wine-god. Business was abandoned; the law-courts were closed; distraints for debt were forbidden during the continuance of the festival; even prisoners were released from gaol, to enable them to share in the common festivities.[1] The theatre, the chief centre of attraction, was thronged with spectators; and the number of plays provided was large enough to compensate for their scarcity at other periods. Several days in succession were devoted to the drama. Tragedies and comedies followed one another without intermission from morning till evening. In the midst of these pleasures the religious aspect of the performance, as a ceremony in honour of Dionysus, established in obedience to the direct commands of the oracle,[2] was not forgotten. The audience came with garlands on their heads, as to a sacred gathering. The statue of Dionysus was brought to the theatre, and placed in front of the stage, so that the god might enjoy the spectacle along with his worshippers.[3] The chief seats in the theatre were mostly occupied by priests, and the central seat of all was reserved for the priest of Dionysus.[4] The performance of plays was preceded by the sacrifice of a victim to the god of the festival. The poets who wrote the plays, the choregi who paid for them, and the actors and singers who performed them, were all looked upon as ministers of religion, and their persons were sacred and inviolable. The theatre itself possessed all the sanctity attaching to a divine temple. Any form of outrage committed there was treated, not merely as an offence against the ordinary laws, but as a sacrilegious act, and was punished with corresponding severity. The