It appears then that it was in the beginning of the fifth century that the profession of the actor came into existence as a distinct occupation. It grew very rapidly in importance. At first the actors who took part in the competitions were regarded as mere subordinates, and had no share in the honours and rewards. But towards the middle of the century a change was made, and prizes began to be instituted for the best actors, as well as for the best poets. The names of the actors began to be recorded in the official lists of victors, side by side with those of the poets and choregi.[688] In the fourth century the actors sprang into still greater prominence. The art of acting tended to outshine the art of dramatic writing. An age of great actors succeeded to an age of great poets. The same phenomenon is not uncommon in the theatrical history of other nations. In England, for instance, a period of dramatic productiveness was followed by a period of sterility and insignificance, and from the time of Garrick downwards the names of the great actors, who have made themselves famous by interpreting the masterpieces of Shakespeare, are more conspicuous than the names of dramatic authors. In Athens the fourth century was the period when acting was brought to the greatest perfection. To such an extent had the importance of the actor’s profession increased, that in Aristotle’s time a play depended more for its success upon the skill of the actor than upon the genius of the poet. The effect upon dramatic writing was most pernicious. The poets began to write their plays with a view to exhibiting the capacities of the actors. Scenes which had no connexion with the plot were introduced for the sole purpose of enabling an actor to make a display of his talents.[689] Sophocles is said by one of the old grammarians to have been guilty of the same sort of practice. But if there is any truth in the statement, the evil effects are not very apparent in the extant tragedies.[690] The charge might be brought with more plausibility against the monodies of Euripides, which are often feeble from a literary point of view, but would enable an actor with a fine voice to make a great impression. However, it was not until the fourth century that the influence of the actors became so universal as to inflict distinct injury upon the art of dramatic writing.